FRED Entertainment

August 8, 2007

Interview: Derren Brown

Filed under: Interviews — Tags: , , , , , — UncaScroogeMcD @ 4:09 am

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-by Ken Plume

derrenbrown-2007-08-08-01.jpgDerren Brown is a very dangerous man. In fact, any encounter with Derren – be it on a street or even your own home – is an affair fraught with peril. He is, in addition to being such hazard, one of the most fascinating entertainers currently plying his arcane trade on television today.

What exactly is that trade, you ask?

Derren Brown is – depending on how you look at it – a mentalist, a magician, an illusionist, a hypnotist, a paranormal skeptic… When, in reality, he’s all of these things and more. With an acerbic wit and presentational flair, he’s a riveting performer who’s finally making his way to the US.

A staple in the UK courtesy of multiple series, specials, and live shows, the Sci-Fi Channel has imported Derren via a rejiggered and expanded edition of his initial effort, Derren Brown – Mind Control. It’s a mixture of tricks and mental feats for a generation raised on Penn & Teller, and a must-see affair. As Derren himself describes it, his work is a combination of “magic, suggestion, psychology, misdirection and showmanship.” The US edition of Mind Control is currently berthed on Thursday nights at 10pm EST.

I’d also recommend you pick up the DVDs that are currently available in the UK (the original Mind Control, plus the first two series of Trick of the Mind), as well as his must-read book Derren Brown: Tricks of the Mind.

I got a chance to tempt fate by chatting with Derren, whilst constantly fearing that I would fall under his sway and become nothing more than a puppet in his diabolical schemes…

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KEN PLUME: It’s a pleasure to be speaking with you.

DERREN BROWN: You too…

KP: It’s something we’ve been wanting to do for, I believe, two years now…

BROWN: Really?

KP: Yes. I’m a huge fan of you and your work.

BROWN: Oh, thank you very much, that’s lovely. Thank you, Ken.

KP: And knowing some statements you’ve made in the past regarding enjoying your anonymity in the U.S. …

BROWN: (laughs)

KP: What suddenly was the change that brought about the transport of the show and yourself into the arena of a U.S. network?

BROWN: Well, yeah. I think it just… it’s one of those things that’s always kind of been on the cards. You know we didn’t sell the show to the States, anticipating that one day we might want to have it commissioned out there. That was just something that was always gonna go in the background, and it’s been seven or eight years that I’ve been on TV, so it seemed like a good time to start asking. In terms of the anonymity, for me, I just don’t know… I mean, the difference is I don’t live in the States. If I do become well known out there for the show, it’s something I’ll have to deal with. I like my privacy, but I don’t know. I just don’t know. I was just talking to a previous interviewer about the slightly odd stalkers and strange reactions I’ve had, and God knows what it’s gonna open up starting up out there. So who knows.

KP: So does that mean at some point you’re going to start hosting America’s Gone Mental with Piers Morgan?

BROWN: (laughs) Yes, that’s the time. I’ll make a note!

KP: Do you still find that you have a shred of anonymity within the UK, or do you think that’s largely disappeared?

BROWN: Well, it’s kind of nice. Channel Four – it’s one of the big channels, but it’s less mainstream. It’s kind of the cooler, edgier kind of programs – which is fantastic for me, because they really support some of the stuff that I do, that I think I’d have trouble getting commissioned on some of the other channels. It’s a mixed sort of audience that watch the show and everything, but it gets – on average – I think about three million people that watch it, which is good figures for that channel. It’s not 20 million that watch the big soap operas. So it feels an okay sort of balance – but I wouldn’t want too much more. I don’t quite have the ambition or the ego of most big flashy magicians, so I’m not gonna be fishing and struggling to be number one magic type mind reading figure out there, so we’ll see. I’m fairly modest about all my expectations. I think it’s a good show and I hope people will want to watch it.

KP: And you also mentioned that you’re not exactly – by your preference – an outsized personality when it comes to the public eye…

BROWN: No. Yeah…. I think most of that comes from your own kind of drive and what you want. I mean, I was already doing what I do, quite happily, but just not on TV. And then I was offered the chance to do it on TV – which of course was great and exciting, but I think if you’re already doing something that you enjoy and it’s about just doing more of what you enjoy, that keeps it all sane. As opposed to just wanting to be on TV and famous for the sake and the appeal of that.

KP: What is that you want?

BROWN: I’d like to have a place in Florence, and retire and paint at some point, to be honest. I love doing this and it’s great fun, and I’ve been able to kind of reinvent the show a few times and I get to tour every year. I love all of that. So I enjoy it enormously. I have no idea how it’ll go in the States, whether it’ll take off and be a big thing or whether it’s something that will kick over for a while. I think it’s a good show. I’m proud of the show, so I’m very happy with that. Depending on what happens in the States, I may have to drastically change my priorities. I try and be relaxed about it and I don’t have any particularly strong ambitions or strong expectations in any areas.

KP: Have you found it more difficult going with each new series, as far as developing material for it?

BROWN: Actually, it’s kind of got easy. I thought it would be more difficult. Very rarely have we felt – I say “we”… it’s me and one other guy, my friend Andy, and we write all this stuff together…

KP: That’s Mr. Nyman right?

BROWN: Andy Nyman that’s right, yeah. Who’s currently touring in Death at a Funeral, this new Frank Oz movie. He’s just gone over to LA for a month. It’s opening sometime this month. So for me, what happened is the show’s progressed and matured here. It’s become about – especially the one hour specials that I’ve done – has sort of become about what I feel I wanted to look at or what’s become an area of interest for me. They’ve grown with me – as opposed to just, “Here’s another series, we need to churn out another 50 routines.” It’s never really felt like that. It’s always quite fresh and different. So somehow I’ve had a clearer sense of the sort of thing that I want to do each time, and that’s actually kept it fairly easy to come up with material that still feels interesting and fresh. It hasn’t been as difficult as I might have anticipated.

KP: Do you feel that you’ve, in lockstep with that, progressed and matured as a performer as well?

BROWN: I think so, yeah. I mean, I’m doing big stage shows and things that I never thought I’d do, and I had to learn how to do that. I had to learn how to perform in front of two thousand people – which is fairly big for our standards.

KP: What are the disciplinary differences between TV and on stage for an audience?

derrenbrown-2007-08-08-03.jpgBROWN: Oh, hugely. You can do stuff on TV but not be particularly much of a live performer. I think it’s just one thing to get something on TV – most of the kind of drama and pace of it will probably come from the editing of the show, and the style and the look of the show. On stage, it’s just me for three hours, and I’ve got to try and keep everybody constantly entertained. That really is just me. So it’s a different set of skills on top of actually making the stuff work. For me, it’s much more exciting, I much more prefer that, and I look forward to hopefully, in time, doing something on Broadway, because it’s a real buzz.

KP: It definitely is more energizing to see you in that longer sustained form, having seen the Something Wicked special you filmed during your last stage tour…

BROWN: That’s cool. Yeah, it is different, isn’t it? And it also means I have to be sort of lighter and funnier, and do things that for some reason never really worked too well in the series. The series is quite solemn in comparison. Not a lot of room for gags.

KP: Would you perceive the character of Derren Brown that you’re performing in those two venues to be different?

BROWN: Yes, I think it is. Still, I think the stage version is more me, because that’s the… if you’re gonna perform at all well – and I’m not saying that I perform that well – but it has to be you. It has to be a theatrically enhanced or tweaked version of yourself. You can’t just sort of fake your personality. That doesn’t really work. It does on TV, because it’s all sort of fairly quick segments, and I’ve just got to get through what I’ve got to do because it’s got to fit into a format on TV. You know, less room for that. Actually performing the piece, you want them to shine and you want them to interest the viewer at home. So yes, I think in terms of the character, there’s certainly two different sides. That’s kind of interesting. If it was me watching the show and I’d seen that guy on TV, I’d be quite interested if I went to see him on stage and he sort of fleshed him out a bit as a character. But I don’t think of it too much as a character… but I suppose, invariably, you have to, to keep on top of it.

KP: Do you perceive him as any different from how you are off stage?

BROWN: I think I’m a lot less the kind of very confident, controlling… It’s a side of me, if I’m comfortably high status (laughs)… I can be like that, but I’m much quieter and more considered, I think. But then it’s really fun if you are like that – and I’m quite indecisive and I’m quiet and private… all those things in real life… so it’s actually quite nice to tap into that side, the more confident aspects of yourself. To do that on stage is a real treat.

KP: So you’re saying the closest thing people would see to the real you is if they’d seen that bonus feature on your second DVD set, with you eating breakfast rather anal retentively?

BROWN: Oh that! Yeah probably, probably. Yes, I thought that was quite fun when I watched that. Yeah, it’s all different parts of me. You have to draw from yourself, and then you kind of have to enhance that and make it interesting. With the TV show, it’s fast-paced – it’s difficult having too many layers to that. But sometimes, certainly the show here has gotten funnier and lighter. It never become a big laugh, but the TV show, as it’s grown up, it’s become a little bit softer around the edges, in a good way. And I think that was something that was important. Whereas, yeah, doing the first series for Sci-Fi, I think it has to be very clear to people exactly who I am and what I’m doing. And then hopefully give it room to grow if it gets recommissioned, and has a chance to do that.

KP: Do you call them tricks? Do you call them performance pieces?

BROWN: Routines? Segments? I don’t mind. Some people have called them tricks – that’s fine, too.

KP: Watching the last series, Trick or Treat, on Channel Four…

BROWN: I’m fascinated that you know the material, that you’ve watched these things. Thank you.

KP: Like I said, I’m one of the people in the US who’ve been trying to show people your work for the last couple years.

BROWN: Oh thank you, Ken…

KP: I’m just glad you’re coming to the US. When you look at those segments, there seems to be both a… you know, obviously because of the concept of the program (where volunteers get to choose what type of piece they’ll be involved in – a trick or a treat), it has a very soft, kind edge, as well as a very, very hard edge with the trick portion of it. Do you see a line that is uncrossable in what kind of segment you’ll do, in terms of what you’ll subject a participant to?

BROWN: I think, for me, the thing of primary importance is the experience of the person that takes part in it. That’s a huge, important part of it. Although some of the pieces, they may be finished in a way that makes them look quite bleak or traumatic or cruel, the reality is that people always are so well taken care of and always invigorated by it. To me, that’s very important. Especially how participants generally are treated in reality shows and things – it’s just criminal and quite upsetting sometimes. So it’s very important to me that it isn’t like that, and that their experiences are authentic and matches what they see on TV when it goes out, but also that it’s enjoyable for them. So with that in mind, it’s our sort of building drama. It’s a question of not just showcasing, “Look at me, look how clever I am, I can do this” – that was maybe more important at the very start when I had to make a name for myself, but now I’m in the shows less… and ideally, I wouldn’t be in them at all, but I still have to make a living. (laughs) Obviously I have to get my skills and what I do in there, but at the same time what I’m interested in is the drama of the situation – which, at home, you’re empathizing with the person that’s taking part. I think we just sort of sit around and talk about it, and that idea, and a couple of others, came like the zombie arcade game – which I guess you must have seen…

KP: Yes.

BROWN: They came out of normally sitting around, talking about smaller sort of tricks, if you like, and ideas, and I go, “Can we just think a bit bigger? What if we… I mean we’d never do this obviously, but what if somebody woke up and they were witnessing their own death in a car crash, and we had a double made of them, or something.” Something like that. And that idea kind of sticks, even though it’s normally said in a spirit of, “Well, obviously we couldn’t do that because that would be really cruel.” And then it sticks, and then…

KP: And then you did it.

BROWN: … and then we find a way to do it that isn’t cruel and irresponsible, and that’s sort of interesting and intriguing and fascinating to the person. If it is a bit cruel, at least by the end of it they’ll feel elated and exhilarated and forgive us. Plus they volunteered to take part in the show, and they know the sort of character that I am.

KP: They know what they’re getting into.

BROWN: Yeah, they know what they’re getting into.

KP: Has there ever been a participant that reacted in a completely surprising manner?

BROWN: It’s never happened. There was one stunt, the staring competition…

KP: Was that the gentleman that was about to hit you?

BROWN: Yeah, that’s right. Exactly. That’s as far as it’s gone, but that was specifically to make somebody angry and troubled. That was full of that, so it was hardly a surprise.

KP: Did you feel, in that situation, that there was the potential for it to get out of control?

BROWN: I think for me… I get asked this a lot, and I understand that. Maybe it’s just that I’m so on top of what’s happening, and that experience – hopefully knowing how they’re kind of framing it in their minds. It’s difficult to explain, but it kind of… in the same way that hypnotized people look like they’re under the control of somebody else, there’s in fact a much more subtle game of behavioral manipulation, and what looks like one person, the hypnotist, controlling – it isn’t about that at all. It’s about a kind of…

KP: A dance, would you say?

BROWN: It is, yes, exactly, it’s more of a dance, so there is… often what it looks like, in terms of that level of cruelty or control, it isn’t really quite like that. And being aware of the subtler aspects of it, I’m utterly comfortable with what I’m doing and how far I’m taking it. Then, in terms of how it’s presented on screen, once the music’s added and whether it’s left on a very bleak note, I like people to feel a bit guilty for having watched it. I think it’s kind of interesting. It’s not the sort of stuff that you necessarily associate with watching, like, a magic show, or something like that, which obviously it’s related to that whole tradition. So I like playing around with all of that – but that’s separate from the person’s experience, which hopefully always comes out very positive. We did this thing called The Heist, which…

KP: Which, honestly – of all your outcomes – was probably the most disturbing to watch…

BROWN: Yeah, it was pretty disturbing. Now there, I had the guys come over and watch the show in its rough edit form to make sure… the guy, Danny, who was the one that kind of seemed most disturbed when he was stopped… the one that’s doubled over…

KP: Who seemed to have a bit of a breakdown…

BROWN: Yeah. We became good friends. I went out to dinner with them all afterwards, and explained to him the whole of the show, and then Danny came over, and he loved it. He was so exhilarated by it, and he came over and watched the rough edit of the show. Because it was two weeks that had to be pulled down into an hour, and I didn’t want them thinking that I’ve reflected them badly or even it doesn’t reflect what really happened, so he came over as the kind of – as the guy who’d been through the worst – just to make sure that he was happy with it. Which he was. He came and saw a screening of it, and they were all happy with it. It was great. They’re always very well taken care of, and I generally tend to keep in touch with them as well, and some of them become friends. That side of it is hugely important. And yeah, that line you talked about is just one of responsibility. Ultimately, the show is put together intelligently and seriously, and not just sensationally. I know people that have been involved in reality shows and the like, and it’s sort of heartbreaking how ruthless that world is. Maybe it’s partly through seeing that, that makes me realize how important that kind of welfare side of it is…

KP: That sense of compassion does come through in the programs. I think it’s a fascinating companion to also read your book…

BROWN: You have done your homework!

KP: I keep hoping that the book will come over to the U.S., because I’m tired of importing copies for people.

BROWN: (laughs) Hopefully it will at some point.

KP: If Louis Theroux can get his book through…

BROWN: Has his show been in the States?

KP: No, in fact his show hasn’t aired in the States at all, but they released his book here in the U.S.. His companion book to Weird Weekends.

BROWN: That’s nice…

KP: But reading your book, I can definitely see where you’re coming from when you do these sort of things. I think anyone who watches the show probably should read the book just to get a better sense of what your head space is and what your foundation is, as a performer…

BROWN: I hope that’s something that will – if further series are commissioned, and so on – I hope that’s something that will be allowed to grow. Understandably with the first series, Sci-Fi is very keen that it just nails it straight down the middle, in terms of what I do and how I do it.

KP: Just out of curiosity, have you seen the “Seven Safety Tips For Dealing With Derren Brown” that’s been circulating the internet?

BROWN: No, I haven’t!

KP: Well, here’s the bullet points of it: First one is “Don’t deal with Derren Brown.” Second one is “Don’t go to the United Kingdom”… Which is now moot, of course.

BROWN: This is something from the States?

KP: Yeah, there’s a site called needcoffee.com…

BROWN: Okay…

KP: Number three, “If you suddenly find yourself in the UK and Derren approaches, don’t look at him.” Number four, “If you cannot escape him, do not let him touch you.”

BROWN: (laughs)

KP: Number five, “If he manages to touch you, at least keep him from taking hold of your wrist.” Number six, “If he manages to take hold of your wrist, for the love of baby Jesus don’t let him put his hand over your face.”

BROWN: (laughs)

KP: Number seven, “Even if he doesn’t touch you, don’t let him not touch you either.”

BROWN: (laughs)

KP: And it’s fully illustrated with various clips to back up the assertions.

BROWN: That’s fantastic!

KP: That’s from May of this year.

BROWN: That’s great! I hope you’re going to put those in the article. That’s fantastic.

KP: Oh, definitely. From a performance point of view, I’m wondering which aspect you find most challenging – is it the memory skills, the dexterity, or the interpersonal communication?

BROWN: (laughs) The honest answer to that is remembering people’s names when they come up on stage. I did this thing in my first stage tour – I thought, for each city I go to, I will memorize the phone book for that city, then have people call out names and addresses of themselves or their friends or whatever, and I’ll tell them the phone numbers, or around the other way. And I managed to do it – I didn’t always get them right, but managed to do that. But despite that, I never learned the name of the person that would come up that was going through the same book to double check it… the names of people in the audience when they stood up… I’m terrible with that, because I’m so focused on one thing. So it’s always the little things… And utterly ridiculous, because I do this stunt and then thank the person and then have to say, “What was your name again?” You’re like a gag. It got a laugh every night, and I just found it embarrassing. It’s the little things. All the other stuff kind of… (sigh) I don’t know. I’m making it look more difficult than it is. That’s part of the performance. I don’t find it too difficult to monitor something new… I mean, when I’m doing the stage shows, that’s always kind of hard on the first night, and it gradually gets rolled in. It’s a difficult one to answer, but probably the truthful answer is the more entertaining one, I guess, which is people’s names when they come up. I’m very good – like with journalists, I find that if I sit there and do a bank of 10, 20 journalists and I say I will remember all their names, and I always tell them their names back again, and they always write in the articles how impressed they are. But yeah, if I don’t make a point of doing it, I’m just like everybody else – just terrible, terrible at doing that kind of thing. On stage, when it matters most, is when I’m worst.

KP: It’s fascinating, in watching the first series of Mind Control in the UK, having seen the Devil’s Picture Book tape…

BROWN: Oh yes… gosh. Wow.

KP: … to see some of the things reappearing in different guises within the series…

BROWN: Yeah.

KP: I thought that was fascinating. That and the reaction you got out of Stephen Fry.

BROWN: Yes, that’s right. Oh, he’s lovely. He’s such a nice guy. He’s not that well known in the States, is he?

KP: He is and he isn’t. He’s known to a certain segment, but he’s not everywhere like he is in the UK.

BROWN: Yeah, yeah.

KP: One of the things I did want to touch upon briefly was also your painting.

BROWN: Oh yeah…

KP: I quite enjoy what I’ve seen…

BROWN: Well, thank you.

KP: Your portraits are heavily caricatured, and in capturing the essence of a person, has there been anyone that’s proved particularly difficult for you?

derrenbrown-2007-08-08-04.jpgBROWN: Al Pacino. It’s probably the least successful that I’ve done. I think it’s on the website, if it’s been updated. But yeah, I always found him very difficult. Really wanted to paint him and have that in the collection, but it’s never been in my… you know why it was? You know, he’s got a very kind of expressive face. It’s not for lack of features to exaggerate, but I could never get it right. It’s sort of all right, the one that I’ve done, but I don’t know if it’s…

KP: Do you think it’s a difficulty to exaggerate exaggeration?

BROWN: Yeah. I don’t know what it is, because it’s not a very conscious process. It’s not like you… they are caricatures, even though they’re subtle, but I don’t kind of… you don’t consciously think, “Right, that’s quite a big nose, so I’ll draw a big nose.” You just draw what you see, and then if you naturally see things in an exaggerated way with faces – which I guess I do, which I’ve always had a very good memory for faces because I’ve always seen them and remembered them in this kind of exaggerated way – so you just draw what you have in your head and it just comes out in an exaggerated way. If I try and draw a straight portrait that isn’t exaggerated, I can’t. It just comes out like that. So it’s very difficult, to do it when it isn’t working, it’s kind of hard to make it work. And for some reason I was hung up on that…

KP: Has your self-portraiture changed much over the years?

derrenbrown-2007-08-08-05.jpgBROWN: Yes. It’s only the most recent one that I think works for me. There were quite a few previous ones that were not very good. How you see yourself isn’t how other people see you, so if you’re painting somebody else, and you know when it’s right, because it kind of clicks into place, and I can hear their voice talking when it works. You just look at it and it’s like looking at a photograph, and the picture triggers all the associations that looking at the real person would. Whereas yourself, that click doesn’t happen, because you don’t think of yourself in the same was you think of other people. You don’t hear the person’s voice and you think of them, and all those sorts of things. It’s just guess work, in the end. It’s just, “Yeah, that looks like what’s in the mirror, so I’ll stick with that.” It’s only this last one that…

KP: That’s finally clicked?

BROWN: Yeah. Probably because I see myself on TV now. I’ve actually got an image of that.

KP: Do you think you have a perception of yourself outside of yourself? If that made any sense…

BROWN: Well, I guess more so than before.

KP: Is that perception of you as “you”, or do you perceive that as the “performer” version of you?

BROWN: I think it depends on how messy my hair is, how confidently I’m staring at the camera… all that kind of thing. I think there’s a certain look and dress I associate with the performing me more than… or even having said that, I am wearing a suit at the moment, even though I don’t need to – though I do tend to wear suits in real life, as well. I don’t know…

KP: Well, obviously you’re dressing up for the interviews.

BROWN: (laughs) A perfectionist. In case you have some video thing that I don’t know about…

KP: I saw you rearranging silverware at breakfast on the DVD features, so I know all about your perfectionism…

BROWN: (laughs)

KP: Any plans to take your live tour to the US at any point?

BROWN: Well, I would love to. I mean, that’s certainly something to aim for. I think it’s just a question of if the series builds up a fan base and it feels right, then I would love to do a tour, do a Broadway run if possible. That would be great. They’ll love the way I sing. You’re a very diverse country. You know? I mean, in some ways you’re very homogenous, and in other ways… you’re hardly heterogeneous, if that’s the word. And it’s psychologically interesting as well, so it’s nice, with the show, to go to different areas. I’m sure how New Yorkers react to a camera – let alone what I’m doing – will be very different to going somewhere in kind of the Midwest or deep south. It’s a rich area, I think, and I think useful and good fun for the show, as well.

KP: Hopefully we’ll come across better than we did in Messiah…

BROWN: (laughs) Yeah, I think… I don’t know if we’re using bits from that. No, we might just hold that back and have that as a special. Yeah, might need to soften it up a little bit.

KP: Here’s hoping that you do make the transition. I think it’s been a long time coming.

BROWN: Well, thank you, Ken. I really appreciate your support, and thank you for making people read the book. That’s lovely.

KP: I do appreciate your time, and here’s hoping in the future we can finally do that in-depth interview that we’ve been trying to do for years.

BROWN: That would be fantastic. I can’t wait to meet you one day…

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August 7, 2007

Quick Stop Thingamabobs: 8/8/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 11:50 pm

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Laurel & Hardy kick off today’s destinations of interest… (Thingamabob)

Have a THINGAMABOB? Send it in!

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SModcast 23

Filed under: SModcast — UncaScroogeMcD @ 4:26 am

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SModcast is the meandering palaver of a pair of dudes whose voices are so dull, they don’t deserve to be on the radio (and, hence, aren’t). Kevin Smith and Scott Mosier are SModcast.

The best thing about SModcast? It don’t cost nothing.

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SModcast 23: Good Vibrations –

The re-return of the distaff, in which our heroes discuss Canadian lockdown & toilet hijinks, reminisce about coming for the first time and losing it in a small town, get all “Sex And The City”, cross the point of no return, make note of body types and what city is best for them, decry the bane that is Star Tours, discuss how many kinds of wonderful the “Simpsons” premiere was, and find new lines to cross.

[CONTENT WARNING] SModcast features harsh language and even harsher notions of propriety. Listener discretion is advised.

DOWNLOAD: (right click to save)
SModcast 23 (MP3 format) – 46.35 MB

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Wanna add your two cents? Spend it here, in the SModcast mailbag.

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The Art Of Travel Blog #4: The Darien

Filed under: Art of Travel Blog,Production Blogs,Quickcasts,Video — UncaScroogeMcD @ 1:14 am

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We are happy to present the exclusive web only trailer and first of seven behind the scenes webisodes of The Art of Travel. Each month, we’ll premiere a new webisode – and in-between, we’ll have biweekly blogs from the actors and filmmakers, plus cool image captures from the movie.

This story has been three years in the making, and shooting the film over 7 weeks in 5 countries was an adventure for the entire cast and crew.

No, The Art of Travel is not a documentary or the retelling of the bestselling philosophy book with the same title – It is the story of Conner Layne, a high school grad with a full ride to college who finds his plans interrupted by a life changing moment… a moment which becomes the spring board to a travel adventure that ultimately changes Conner’s hopes and dreams.

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What is the Darien Gap? Where is it? Why is it one of the most dangerous jungles in the world? In The Art of Travel, Conner Layne meets Christopher Loren and his wife Darlene. Both are leading a jeep expedition across this jungle – a trip that will last over 370 days!

There are no roads… They will need to make roads by hacking with machetes. When Conner decides to become the seventh member of the expedition, he has no idea how many friendships he will form and how he experience will change his life. To learn about the Darien Gap and the expedition, and how the film crew challenged the rain and
bugs, enjoy this months webisode: “The Darien”…

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Thomas Whelan, Angelika Baran, Brian La Belle, Emyr G. Graciano, Christopher Kennedy Masterson (Cusco, Peru)

Salude from the Filmmakers!

Thomas Whelan
Brian LaBelle
Emyr G. Graciano
Christopher Kennedy Masterson

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THE ART OF TRAVEL TRAILER ““
Before you dive into the webisodes, check out the trailer for The Art of Travel…

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Download The Art of Travel Trailer:

 

  • Large (560 x 420 – QuickTime – 28.04 MB)
  • Small (320 x 240 – QuickTime – 11.63 MB)

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THE ART OF TRAVEL VIDEO BLOG #4: “The Darien” ““
Cross the formidable – and deadly – Darien Gap with the cast and crew…

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Download The Art Of Travel Video Blog #4:

 

  • Large (560 x 420 – QuickTime – 42.42 MB)
  • Small (320 x 240 – QuickTime – 18.94 MB)

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THE ART OF TRAVEL VIDEO BLOG #3: “Ladrones” ““
How exactly do you woo a cast willing to travel into the wilds of Central America…

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Download The Art Of Travel Video Blog #3:

 

  • Large (560 x 420 – QuickTime – 40.02 MB)
  • Small (320 x 240 – QuickTime – 17.56 MB)

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THE ART OF TRAVEL VIDEO BLOG #2: “Casting The Net” ““
How exactly do you woo a cast willing to travel into the wilds of Central America…

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Download The Art Of Travel Video Blog #2:

 

  • Large (560 x 420 – QuickTime – 31.97 MB)
  • Small (320 x 240 – QuickTime – 17.95 MB)

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THE ART OF TRAVEL VIDEO BLOG #1: “Gonzo Filmmaking” ““
Dive into the process of pulling together the film, and the unique insanity of transporting a cast and crew into the wilds of Central America…

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Download The Art Of Travel Video Blog #1:

 

  • Large (560 x 420 – QuickTime – 41.03 MB)
  • Small (320 x 240 – QuickTime – 17.95 MB)

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Toy Box: FANtastic Exclusive 2 – The Gauntlet of Vaskkh

Filed under: Columns,Toy Box — admin @ 12:48 am

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Regular readers will remember that in 2006, The Four Horsemen did a very cool exclusive based on fan input. This was the first FANtastic Exclusive, developed in conjunction with fan input right from the start. I reviewed the Champion of Mynothecea last summer, and so it’s only fitting that I cover one of the 2007 FANtastic Exclusives as well.

Yep, they did it again for the 2007 SDCC, but unlike last year in which they did one figure with a number of paint variations, this year they went all out, producing 9 different figures. Of these nine, several are entirely new head sculpts!

The main character was Ramathorr, the Elephant Swordsman. He was available at SDCC, or through the Store Horsemen where he’s available for $25. The next announced figure was the Hammer of Gholl, another elephant but with a slightly different head sculpt. He’s a Diamond Comics exclusive, so you may be able to pick him up at your LCS. Next up was the Mace of Broggah, another elephant guardsman with a different paint job and some new armor. He’s available through October Toys and is limited to just 300. But wait, there’s more! Then the Club of Thraugnn was announced, a red version of the Mace of Broggah elephant. He was sold through Fwooshnet.com. Ah, but then things took a turn with the Shield of Draumm! The warriors stopped being elephants, and switched to new creatures. The Shield (as his friends like to call him) is a hippo! It’s the same basic body, with a new head sculpt. He was sold through Raving Toy Maniacs.

*whew*. Next came the figure I’m reviewing today, The Gauntlet of Vaskkh. This guy is a rhino, so there’s a whole new head sculpt again. He was sold through Action Figure Express. The Helm of Xaanm continues this style, but he’s a warthog this time. Big Bad Toy Store was the exclusive retailer on him. But with all these good guy warriors, where’s the bad guys?

That’s where the 7th and 8th variant figures come in. They are Ggruxx (carried by Toy Rocket) and Ssejjhhorr (carried by Figures.com), twin bad guys with a different paint job. But what are they? Mutants, and not very attractive ones at that. But they look great as villains!

So that’s the full line up of nine figures. They are all limited editions of course, in that 250 – 300 range depending on the character. They all run around $25 – $30 each, depending on the retailer. Tonight’s review covers the rhino, Vaskkh, who was $30 from AFX.

FANtastic Exclusive 2 – The Gauntlet of Vaskhh

While all the elephants are cool, I have to admit that the combination of the elephant with the rhino, warthog, and hippo makes this series special. Stick these guys with your cow from last year, and you have one very cool if anthropomorphic display of bad ass warriors!

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Packaging – ***
The packages are quite large, but so are the figures. The only problem with such a large bubble and such a heavy figure is that it can cause separation from the cardback. If you’re a MOCer and going to store these, it might be tricky.

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Sculpt – ****
Outstanding! But then, we have come to expect no less from the Four Horsemen. The detail work is excellent, especially on the rough skin texture and uber-cool armor. These figures are some of the best looking produced this year, and are certainly the best exclusives at this year’s SDCC.

This guy is big, standing at 9 inches tall at the ear tips. The hands are sculpted to hold the weapons, and they work nicely. While the hoof feet aren’t huge, they are large enought give him a good, solid base for deeper poses.

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Most folks will spend their time oooing and ahhhing over the quality of the sculpt, but the quality of the engineering should not be overlooked. They managed to develop a beautiful base figure that allowed them to produce not one or two but eight very cool variants. Even when swapping the heads to entirely new animals, the base body still looks terrific. That was a tall order to cook up, but they managed to do it and do it within a pretty tight budget I bet.

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Paint – ***1/2
The paint work is also strong, although I do wish there was a bit more highlighting and wash to bring out a bit more of the cool skin texture.

The quality is very high in general though, with little to no slop or poorly cut lines. There’s a terrific palette of colors here too, with some nice golds and blues to offset the basic gray skin. With a licensed property, the toy manufacturer is usually stuck with whatever color scheme the original character uses. Here, with an in house developed property, we can see the artistic talents of the Four Horsemen set free, and the choices they made were excellent.

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As I mentioned, there isn’t a lot of washing or dry brushing though, which has its pros and cons. On the plus side, these techniques can be easily overused and ruin an otherwise great figure. On the con side, without them the great detail work, especially on the skin, tends to blend in. The figure could have used a little more punch in that area, but I’m not dropping the score in any major way because of it.

Articulation – **1/2
The one disappointment here for me was in the articulation. It’s not about how much there is, but rather the tightness of the joints.

Vaskkh has a ball jointed neck, although the large head restricts it a bit. He also has ball jointed shoulder (jointed on both sides), pin elbows, pin wrists, and a cut waist. Below the waist are ball jointed hips (again, jointed on both sides of the ball), pin knees and pin and rocker ankles.

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That’s plenty of joints, and you can get some terrific poses out of them. Unfortunately, the joints below the waist are very loose, and his upper body is quite heavy. Those two things together means that getting him to hold those great poses for long periods can be pretty tough. These seems to be a pretty common complaint across the entire wave of 9 figures.

Accessories – ***
Vaskkh is a tad light on the accessories considering the price point, but he does come with two very cool weapons. These axes can fit nicely in his hands, or snap onto his backpack for easy carrying. The sculpt and paint are terrific, and the style of the weapons matches the type of animal, if that makes sense. Perhaps there’s something about the sculpt that reminds me of the horn, or perhaps, there’s something about their bulk that relates to the bulk of a rhino. Whatever the case, these were well thought out.

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Value – **
Ah, now here’s the rub. Last year’s exclusive was $20, but some of these (like this guy) were up to $30. Several of the exclusives were slightly lower though at $25. Considering the extra bulk of these characters (and the very low edition runs/exclusivity), I can understand the $25 price tag, and would give him **1/2 at that price point. But at $30, this guy loses another half star.

Fun Factor – ***1/2
Even with the loose joints, this guy is still one fun figure. Kids could play with him with little fear of breakage (or at least not more than the usual mass market toy), and the bulky axes are less likely to pose any threat of injury. These bad ass beasts also fit in with a general ‘animals as warriors’ theme that we’ve seen for years in kid’s action figures. They are a great example of a ‘collectible’ staying true to its roots.

Things to Watch Out For –
Since you can do much about the joints til after you have him, there really isn’t much to watch out for on this guy.

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Overall – ***1/2
The Four Horsemen have another hit on their hands with this year’s FANtastic Exclusive. It’s too bad that more folks don’t know how terrific these figures are, but they did seem to sell out pretty well, so word must be getting around. If you have a chance to check one of them out, I highly recommend it. And the process for the FANtastic Exclusive for next year’s SDCC should start soon, so get involved!

Where to Buy –
That depends on which version you’d like:

– Ramathorr (standard elephant) is available at the Store Horsemen.

– The Hammer of Gholl should be available at your local comic shop.

– The Mace of Broggah is available through October Toys.

– The Club of Thraugnn is available through Fwooshnet.

– The Shield of Draumm can be found at RTM.

– The Gauntlet of Vaskkh is available through Action Figure Express.

– The Helm of Xaanm was sold through Big Bad Toy Store.

– The Mutant Ggruxx is available through Toy Rocket.

– and finally, the Mutant Ssejjhhorr is available through Figures.com.

Related Links:
Check out the Four Horsemen’s site when you have time, and don’t forget my review from last year’s Fantastic Exclusive. The Four Horsemen also have a site set up specifically for the FANtastic Exclusives.

Quick Stop Thingamabobs: 8/7/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:46 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Zack Kim and his two-guitar Simpsons theme… (Thingamabob)
  • And a little Super Mario Bros. action… (Thingamabob)

Have a THINGAMABOB? Send it in!

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August 6, 2007

Widge Goes Off #2.1: Are You Going to Eat That?

Filed under: Widge Goes Off — widge @ 1:11 am

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[CONTENT WARNING] This podcast contains foul language and a blatant disregard for OSHA regulations.

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The sites I pimp in the podcast are: Needcoffee.com, Colors Are Overrated, and The Daily Kicksplode. Gnaw on them at your leisure.

Special thanks to Exit Mindbomb for letting me use “Godzilla Will Rule You” from their album Happy Accident for my new WGO music. Check them out on MySpace here and I tried to link up as many songs as I could here.

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Widgett Walls is the chief cook and bottle washer for Needcoffee.com. He’s also the author of Mystics on the Road to Vanishing Point and Magnificent Desolation. His personal blog is at WidgettWalls.com, which he updates when he feels like it. He lives and works in Atlanta, Georgia. He hardly ever sleeps.

Party Favors: Pay Cable Evil

Filed under: Columns,Joe Corey's Party Favors — UncaScroogeMcD @ 12:05 am

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BALTIMORE –– Is it really the 10th anniversary of the revolution? What revolution, you may ponder. On July 12, 1997, HBO unleashed Oz. This series flipped dramatic TV shows over and sodomized the staid concepts. It went everywhere a network show didn’t dare to roam in language, violence and man love.

It was a unflinching look at life inside the Oswald Maximum Security Correctional Facility. What set it apart from any other TV drama wasn’t merely that it had throat slashing, butt sex and cussing, but that it allowed the bad guys to be the major characters. Even the supposed good guys were shown running their own rackets behind the prison walls. Nobody was all good. Although quite a few characters were all bad. While TV dramas before Oz might have had recurring evil characters, they were either seen as comic relief or constantly being taught that their bad ways would never defeat the series hero. Oz put an end to that tradition. If anything separates HBO from network dramas, it’s the greatness of their villains.

The only series that didn’t have an amazing bad guy was Six Feet Under. Although Nate Fisher (Peter Krause) became such an asshole in the final years that he was as good as a villain. We’re still not sure who is the bad guy in John From Cincinnati, but we’re putting money on Ed Bundy’s bird.

After a long polling process, here’s The Top Ten of HBO’s Diabolical Decade:

10. Atia of the Julii – Rome – (Polly Walker) – She was the most wonderful mother a future emperor could ever have. She fucked for power. She fucked for peace. Occasionally she fucked cause she was in the mood. Her body was the Appian Way for her son to ride to the top. She didn’t mind destroying her close friends if she feared they’d turn on her. For an America that was used to Polly Walker from the charming Enchanted April, her lusty turn on Rome was quite shocking.

9. Phil Leotardo – Sopranos – (Frank Vincent) – For the final seasons of The Sopranos, Phil was the ballbusting mobster while Tony emotionally floundered. Phil snuffed the man who loved Johnny Cakes. Phil wanted Jersey to know that New York runs the family. Frank Vincent was able to up his mobster profile from all his Martin Scorsese roles.

8. Roman Grant – Big Love – (Harry Dean Stanton) – This isn’t just a creepy minister of a polygamy community in Utah. Roman is God’s will on Earth. You turn on him and you’ve banished yourself to hell. And he doesn’t wait till you’re dead to make you feel the heat. He also has a major thing for collecting more wives. If you don’t watch out, he’ll marry your daughter! Harry Dean Stanton’s nails the creepy look when he lowers his cowboy hat.

7. Chris Keller – Oz – (Christopher Meloni) – He was a hardcore killer that had no qualms in snuffing folks. Perhaps his crowning moment is what’s called “Pullin’ A Keller” around the joint. He had a guy giving him a blow job in a private part of the prison. Chris unloaded in the guy’s mouth and snapped the sucker’s neck. I never saw Jack Lord do this on Hawaii Five-O. While Meloni has gone on to star in Law and Order: SVU, it’s hard to imagine he’s really protecting Manhattan. He’s just trying to eliminate the competition.

6. Omar Little – The Wire – (Michael K. Williams) – Whenever you see Omar roaming the mean rowhouse streets of Baltimore with his shotgun, you hide. He’s a wild card on the series. He doesn’t mind robbing the drug dealers, but he’s not cleaning up the town. He just wants the money and the dope. Williams has a hardcore look when he loads up his guns that puts him beyond the normal tough guy actors. Why aren’t rappers wearing t-shirts of Omar Little instead of Tony Montana?

5.Brother Justin Crowe – Carnivale – (Clancy Brown) – Was he Satan? Or just a really creepy minister in league with the devil? Brother Justin was taking over America with his church of the airwaves during the Great Depression. He also liked it rough with the female help. Clancy Brown first went after The Highlander and he topped it by taking on the Carny. Did you know he was the voice of Mr. Krabs on Spongebob?

4. Stringer Bell – The Wire – (Idris Elba) – While Avon Barksdale was serving time, Stringer kept the family drug network running. He even used a community college’s small business course work to revitalize the smack trade. Stringer ran into trouble when he discovered that people in the legit world are more cut throat than underground bastards. Idris Elba was robbed of Emmy glory.

3. Al Swearengen – Deadwood – (Ian McShane) – The ultimate cocksucker ran the town of Deadwood with an iron soul. What he didn’t own or control, he’d destroy. One of his great moments he gave a heartfelt monologue while being blown by a hooker. Ian McShane is now starring in Hot Rod with the guy who put his dick in a box.

2. Tony Soprano – Soprano – (James Gandolfini) – What can be said about the icon? He became the second most popular mobster character behind Don Corleone. He dealt with the issues of his family and his mobster crew. While he showed his human side, we also experienced his beast fury.

1. Vern Schillinger – Oz – (J.K. Simmons) – He lead the Aryan Brotherhood in the prison. When he first appeared on the show, we thought he was a nice guy who had been sent to prison for killing the drug dealer that poisoned his sons. But then he burned a swastika into his bunkmates ass before sodomizing it. Vern was pure evil for six seasons. It was a close vote between Vern and Tony for the top spot. But the tie breaker was that Tony refused to snuff his whiney son. Vern had no problem whacking his offspring when they disappointed him. Simmons is now playing Assistant Chief of LAPD on The Closer. He was also the voice of the Yellow M&M. And now he is the Most Diabolical Character from HBO.

SNAKE WATER

How the hell does Vitamin Water not get sued for false advertising?

I’m trying to cut back on my 3 liters of soda that I slurp down a day. I’m down to one cup of diet soda to hold the caffeine headaches back. The rest of the day I drink plenty of water. I want to get back into fight shape for my upcoming Celebrity Boxing match against Jessica Alba.

During a recent location shoot, I reached into the Igloo cooler for a water, but all that’s inside was Vitamin Water. There’s nothing wrong with water with a little vitamins. Who doesn’t take a drink of water with their Flintstones chewies? But this isn’t water. The stuff I had was “Defense” featuring raspberry and apple flavoring. Sure the bottle claims it “contains less than 1% juice,” but wasn’t that true about Hawaiian Punch? And I didn’t taste water so much as flavor when I drank it. It tasted like Kool-Aid without enough sugar. Is this really water or watered down juice? Water should be clear unless it comes from a Cary, North Carolina tap. Then it’s a nice shimmer grey. This Vitamin water stuff was pretty damn red. It had the capability of staining the carpet. Water gets things wet. It doesn’t dye fabric.

Here’s the funny part, the ingredients listed “vegetable juice (color).” What part of raspberry and apple lies in the vegetable flavor? We can argue tomatoes until Nancy Reagan dies, but raspberries and apples are not veggies. Speaking of seeds crops, Vitamin Water also has crystalline fructose. The folks at sugar.org describe this as “produced by allowing the fructose to crystallize from a fructose-enriched corn syrup.” I’m trying to get the corn syrup out of my diet. That’s why I’m cutting back on soda. But these guys at Glauceau are passing off “water” that’s filled with the same crap that’s in soda.

And in a stroke of Idiocracy, the labels also lists “calcium lactate (electrolyte).” Vitamin Water has electrolytes! At what point do you put enough stuff in water that the FDA won’t let you call it water? You put lemons in water and it gets called Lemonade. You put electrolytes, corn syrup and vegetable juice in a bottle and you still get to call it water?

The boys in Glauceau legal came up with a hilarious description of their product.
“Nutrient enhanced water beverage” is what they call their liquid. Under the definition – what isn’t “vitamin water?” Beer is “nutrient enhanced water beverage.” Coffee fits those lines. So does Tea. So is Coke, Pepsi, Mountain Dew, Jolt and Diet Citrus Drop. Even Hawaiian Punch. If you go down to the waste treatment facility, you can dreg up a glassful of sludge and declare it a “Nutrient enhanced water beverage.”

What’s even more shocking is what the boys in marketing tried to hide from me. The nutritional info is obscured by the red top of the label. What does water not have (besides electrolytes)? Go look on a bottle of real water. It should say “O Calories.” When I held the Vitamin Water bottle in a bright light, through the red background, I was able to see that a serving has 50 calories. What’s more showing is that according to Glauceau, one of their 20 ounce bottles contains 2 1/2 servings. Who drinks that little out of a bottle? Does my grandfather work for Glauceau pouring out Vitamin Water in spit sink Dixie Cups? A 20 ounce bottle of Vitamin Water has 125 calories. That’s a lot of your daily intake if you’re sticking to a 2,000 calorie diet.

You know how much water you have to drink to get 125 calories? You can’t. I don’t know exactly what the calorie intake from a One A Day tablet is, but I’m going to guess that it’s not 125 calories when mixed with 20 ounces of water. How can you add this many calories to water and still get to pass it off to water to the American Consumer? This is a beverage that has very little to do with being water. This isn’t a glass of water with a lemon attached to the lip.

Basically this stuff is Gatorade. But you don’t see Gatorade calling themselves Gator Water. While they market the Propel Fitness Water (and I’ve got a beef with that title, too), at least their water is only 25 calories per 20 ounce bottle.

When I reach into a cooler and grab a bottle marked “Water,” I don’t expect to be drinking fattening crap. Forget Formula 50, Glauceu and Coke need to start up a new flavor: Snake Oil. Although the boys in marketing can rebrand it Snake Water with fiery cobra on the label.

DOLPHIN LOGIC

One thing left off my Vegas epic was a visit to The Hooters Hotel and Casino. I thought this was a joke like Otis’ Secret Still Bar. But it was really there in glorious orange and exposed wood. The ladies treated us pretty nice although way too many of them were pregnant. Those hot wings are potent.

What’s even more dangerous is a visit to Dan Marino’s restaurant in the casino. Have you seen all those TV ads where Dan Marino and his football pals beg us to lose weight? The former Miami Dolphin’s quarterback’s health conscious ways don’t visit Las Vegas. A huge sign advertised all you cam eat baby back ribs for $16.99. How the hell does Dan expect America to lose weight when he tempts us with glorious baby back ribs at such an amazing price?

Get with the program, Marino. Either we all lose weight or we all pig out on the precious bones. You can’t have it both ways. Of course he learned this misdirection from his coach. Don Shula also pimps the weight loss on TV. But if you go into his steakhouse, he promotes “The Shula Cut.” This is a 48 ounce porter house steak. If you eat it in one sitting, you get an autograph picture of the coach and your name goes up on his website. Shula promotes one mega-eater that polished off 175 of the Shula Cuts. How can you beg for me to lose a few pounds as you hang out with a guy who has eaten 525 pounds of steak?

If Shula cared about the health of America, he should be praising people who ate the 4.8 ounce porterhouse at his joint.

Why didn’t Shula get Marino a Superbowl? Maybe these two were stuffing their faces during timeouts instead of calling the right plays.

THIS IS IT, GIRL?

Finally had a chance to see Factory Girl, the story of Edie Sedgwick and her time with Andy Warhol. Ever since the book Edie came out in the ’80s, everybody has claimed they were going to make a biographical film about the Youthquaking trust fund girl who was Paris Hilton with a soul. There was once talk of Molly Ringwald in the lead.

The film focused on the quasi-romance between Edie and Andy. Sienna Miller didn’t seem too English playing the girl who fell down the rabbithole of Manhattan. Guy Pearce did the best Warhol since Bowie’s turn under the wig in Basquiat. Halfway through the film, my wife asked me if there was something else on TV. Instead of insisting that things would pick up and get interesting, off went the DVD. The next morning I watched the last hour. Over 20 years of people wanting to make the movie and this was the end result? At least it’s out of Hollywood’s system.

But this isn’t the first semi-biopic that everyone wanted to make and ended up laying on the screen like last week’s potato salad. Bettie (or Betty) Page was also a hot property. The Notorious Bettie Page left me limp. For all the staged debauchery about the fetish star’s career, the movie felt way too clean and reserved. For a film about bondage, I wasn’t wrapped up in the action. Although it did remind us that Gretchen Mol has a great rack. Even the more low budget Bettie Page: Dark Angel was dishwater dull. It spent more time recreating the photo shoots than dragging us into the emotions of the moment. And why did they cast a girl with fake boobs?

The final female film that had a lot of “this needs to be a movie” buzz was Black Dahlia. Nearly 20 years after James Ellroy wrote his fictional account of the case, Brian DePalma made it into a major motion picture. And 20 minutes into the film, I fell asleep. The film has Mia Kirshner as the title role. She normally keeps my eyeballs wide open. Who can forget that very special episode of L Word where she and Sarah Shahi shared a toilet seat? When is someone going to turn that into a motion picture? It demands Imax!

Here were three women that occupied my mind during college. Even I had that hideous thought that I should make their lives into movies. But I left it to the “professionals.” And look what George Hickenlooper, Mary Harron and Brian DePalma did to them? They would have been better off dating O.J. Simpson. It was like going to a 20th reunion and seeing what finally happened to the hot girl in PE class – the first one that had to invest in a jogging bra. Instead of seeing her as an eternal stunner, she’s become the stand-by guest at Jerry Springer.

DINNER: IMPLAUSIBLE

Dinner: Impossible on the Food Network has become highly addictive watching at the estate. Each week Chef Robert Irvine gets stuck somewhere with a little more time as an Iron Chef, but with a semi-inept kitchen staff. He’s got a few hours to create a primo gourmet meal for groups of dozens to thousands. It’s nuts. Recently he had to make such a meal during a Chicago White Sox game using only food in the concessionaires freezer. Talk about a gruesome selection of meats.

What Irvine concocts is rather amazing. We’re going to do try the Dots with margarita mix at a future party. The nice part about the show is a few times he has failed the challenge. He couldn’t create the amazing meal under the deadline. So there is excitement as things come down to the wire.

I dare Robert Irvine to be able to use me a kitchen assistant on an episode. Although he’ll probably have to bow down to my amazing ability to make put stuff on a Ritz Cracker. Can he make the deadline with me mixing up the risotto? And don’t expect to see anything, but shells and gills if there’s lobster in the episode.

And if he doesn’t want me, can I please get to try out for Ball Busting with Gordon Ramsey where I get 1 hour to make everyone in a three star kitchen cry like baby or attempt to strangle me? Beef Wellington? More like Biff Smellington!

NO CAKE FOR ME

The Food Network has informed my that my Ace of Cakes segment has been banned from the channel. Somehow a cake of Alex Rodriguez with a bat shoved up his ass wasn’t considered family friendly.

While I’m blown away by the Charm City creations from Duff Goldman, it’d be nice to get a price tag on a few of those cakes. How much would it cost for me to get the plane slamming into the Titanic cake? Will I be forced to sell my kids on eBay to pay for their birthday cakes? Does he use his electric saw to remove the arms and legs of customers that come up short? Although fondant can be used to stop a bleeding artery.

DAMN VHS

Did you know there’s no way to reduce space on your VHS collection without getting rid of the tapes? When it came time to shrink the DVD shelves, I put the shiny disks in sleeves and tossed out the plastic cases. You removed the box from a VHS tape and you’re pretty much stuck with the same amount of space minus a few cubic millimeters.

BIRDS AND SHIPS

This is a great time for classic animation on DVD. Showing up in the mail over the past week has been Popeye The Sailor: 1933-1938, The Woody Woodpecker and Friends Classic Cartoon Collection and Tex Avery’s Droopy – The Complete Theatrical Collection. There’s more vintage shorts on those DVDs than Cartoon Network has shown in the past year.

All three sets are prime examples of what can be done when folks who are passionate about animation are allowed to work on these projects. This winter looks good with the final installment of Tom and Jerry and Volume Five of Looney Tunes and the rest of the black and white Popeyes.

LIBERATE CUBA

Daddy Day Camp once again makes me to ponder “Why hasn’t Cuba Gooding Jr. gone nuts and beaten a movie executive to death?” Can he seriously be happy taking all these crappy roles? Why hasn’t he at least camped out on Cameron Crowe’s doorstep refusing to move until Cameron writes him a script? He made Cuba an Oscar winner and now he’s reduced to making films so pathetic that Eddie Murphy wouldn’t cash the check on it. And Eddie needs the work between alimony, the Spicegirl baby and the new fiancé. Lawyers don’t get paid with freebie DVDs.

I have hope that his role in American Gangster will make us forget that Cuba Gooding Jr. made Rat Race, Boat Trip and Snow Dogs. If all goes wrong, Cuba could star in The Wayne Brady Story.

CREEPY ENGLISH PEOPLE

First off, bad news to the producers of John From Cincinnati. With the new episodes of No Reservations with Anthony Bourdain back on the Travel Channel every Monday night at 10 p.m., we’re going to watch your show OnDemand on Tuesdays. We’ve already bumped you from Sunday nights because of 4400. The freaky nature of John is enjoyable, but it’s just not “must see” TV cause it’s just too damn confusing. We want to see Bourdain getting lost around the globe versus a bunch of messed up surfers getting lost in a plotline.

We are enjoying Meadowlands on Showtime. This is best described as The Prisoner-family style. Something evil has happened and the family is forced to relocate in an experimental town that’s filled with witness protection people. It’s kinda like Arizona. The father is played by David Morrissey. It’s pretty obvious why he wants a new identity in a town where no one knows him. Did you see Basic Instinct 2? Morrissey probably doesn’t want you to remember him staring at Sharon Stone’s snatch. Felicity Jones, who plays the daughter, wins our Summer Sizzling actress. She knows how to work the bangs.

They did tip their hat to the old Prisoner series when during a soccer match, they had Morrissey wear the “6” jersey.

BECKHAM BLAHS

Did I really watch a soccer match to see a guy come into a match with a few minutes left? Not really. I was only flipping back to the LA Galaxy vs those English players game during commercial breaks of Ice Road Truckers on the History Channel. I can only handle so many shots of a guy sitting on a bench.

If you’ve seen Once In A Lifetime: The Extraordinary Story of the New York Cosmos, you’ll see that when Pele arrived to elevate soccer in America. He didn’t spend too much time on the bench. People tuned in the next game to see the amazing ball work and goals. When it comes to Beckham, they want us to see if he will actually warm up with 10 minutes left. All the hype. The countdowns. The moaning from Europe. And we end up with a guy who would look best on a bench between Sebastian Telfair and Ryan Leaf.

And Herbalife? Why is that on the Galaxy jersey? Did Est not have $25 million ready to burn? Dianetics not ready to get that involved with the beautiful sport? Wonder if Herbalife has a cure for bum ankles? Red Bulls should have sponsored LA since you’ll need a case to stay awake long enough to see if Beckham will take off his sweatsuit.

Nocturnal Admissions: DVD Review, Film Noir Classic Collection Vol. 4, Part One

Filed under: Columns,Nocturnal Admissions — UncaScroogeMcD @ 12:02 am

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Film Noir box

It’s time to redefine film noir. Or perhaps refine the living definition. Or return to the original definition and work from there. Or scrap the whole genre and its outmoded definition and start over.

You think you know what noir is, don’t you? You think film noir is a minor genre that thrived from the early 1940s to 1958, one that focused on troubled men lured into criminal situations by their own bad judgment and the wiles of a seductive woman, all ending when fate, in the form of the law, reaches out its long arm to snatch them all up? You think that film noir is a heightened genre in which the visuals tell half the story, in which long shadows and venetian blinds and rain swept corners and curling plumes of cigarette smoke are as important as dialogue, if not more so.

If this is your definition, then how do you explain the presence of such films as House on Telegraph Hill, Panic in the Streets, House of Bamboo, or Dillinger in recent sets of supposed films noir. Or put another way, how loose of a definition of film noir do you want?

The DVD distributors no doubt want a definition as fluid and flexible as they already seem to have. Or maybe a definition ever more porous. Film noir is probably the most popular of the genres that sell on disc. Its films come in mostly well-priced and attractive boxes in bright colors and fun typefaces, they seem to epitomized “classic” Hollywood, and they break the color barrier: i.e., kids who normally abjure black and white films will watch noirs. Critically, each box is greeted as if it is the salvation of motion pictures. They don’t make like they used to! What great old films, each and every one!

If a person truly loves noir, shouldn’t they also be seeking out the films of French poetic realism of the 1930s, films such as Pepe le Moko or Le Jour se leve? Or, some of the films of pre-World War II German expressionism, such as Lang’s M, films whose visual style clearly pre-dated the use of shadows and unusual angles in true American noir. The answer is yes, they should: but they don’t. Noir has become a wholly American thing, its roots in other cultures ignored by consumers, its life span artificially elongated, like a dying patient on life support, a very un-noir way to go.

And is noir even a genre? When the two Toulouse-based intellectuals Raymond Borde and Etienne Chaumeton came to write their book A Panorama of American Film Noir, 1941 – 1953, they called it a “series” rather than a genre. It’s an interesting distinction to make, because it ends up emphasizing the short lived nature of the cycle of noir films. In their book, which was finally published in English in 2002, they don’t define the genre, but rather offer a set of five key noir characteristics (roughly: dreamlike, strange, erotic, ambivalent, and cruel) that proves not to be especially helpful, and then they give you a list of noirs, a subdivided taxonomy from which we are supposed to infer a definition. Later, when Raymond Durgnat came to attempt a definition of noir for the British magazine Cinema, he ended up sub-dividing the films by cycles and motifs, such as sociological films, prison films, juvenile delinquent films, and so on. Thus, in 1970 when the article first appeared, and just two years after Charles Higham and Joel Greenberg had introduced the term “noir” to American criticism in their book Hollywood in the Forties, noir was already out of control, a casserole pot for whatever likes or linkages the critic cared to include. The first chapter of James Naremore’s book More Than Night offers the best treatment I’ve found of the difficulties of defining noir.

But here’s an easy definition of film noir: it’s a film whose images are used to illustrate the cover of a film noir book (and there are a lot of them: I have over 50 noir books on my shelves).

The current pro-noir situation is only one instance of a wholesale celebration of the cinematic past as if there had never been a bad movie made in Hollywood. Is there no film so bad it doesn’t deserve a special edition with a making of, the trailer, a booklet, and two or three audio commentaries in which the same film noir specialists pontificate and the surviving filmmaker, regardless of how minuscule his role, is dragged from the the precipice of the grave to have one final day in the sun?

I share a lot of these prejudices. Noir is my favorite genre, and I love collecting the discs and reading up on the films. But at a certain point one has to admit that nor every film out of the past is of equal weight. But in any case, these were the issues plaguing me as I work my way through the new Warner Bros. five-disc, 10-movie set, Film Noir Classic Collection, Vol. 4.

Crime Wave title

Decoy title

The disc people will probably take out first is No. 2, which features Crime Wave, with an audio commentary track featuring crime novelist James Ellroy, along with the related film Decoy. In any case, that’s what I did. Crime Wave (released in 1954, but shot in 1952) proved to be an interesting little policier presented in the documentary mode, with stylistic roots in the Hellinger style of street realism. Shot in only 13 days by notable Hollywood director Andre de Toth for Warner Bros., it is an urgency and rawness that is only accentuated by its brash lighting, especially in the interiors, its tinny, almost drive-in movie level sound production, and its authentic locations.

Crime Wave Hayden

Sterling Hayden is the Robbery-Homicide cop investigating a cheap little gas station knock over that balloons into a manhunt for a team of crooks that includes Charles Bronson (under his real name), Ted de Corsia, and Timothy Carey. It’s worth noting that Hayden, de Corsia, and Carey would appear together again two years later in Kubrick’s The Killing, and that Kubrick’s film may also have borrowed its look from Crime Wave, as the audio commentators point out.

Crime Wave gang

What the yak trackers don’t point out is that Crime Wave has a plot that is an expanded version of a subplot in Michael Mann’s Heat, and that when we first meet the film’s innocent, ordinary couple, Gene Nelson and Phyllis Kirk, they are in bed together, a single bed, not the dual beds the MPAA equivalent demanded. Otherwise, Eddie Muller and his pal Ellroy cover all the film’s bases, from the exact locations where the film was shot to the backgrounds of the film’s cast. Ellroy clearly tickles Muller, who generously and sincerely laughs along with Ellroy’s shtick. Among the things we learn about Ellroy in the two-way chat is that he is self-conscious about going bald, and he thinks that Crime Wave is a better film than Chinatown. It is unclear whether he had ever seen Crime Wave before, however, as Ellroy dissolves into loud canine panting whenever a recognizable location, such as the original Bob’s Big Boy or the LA police department, pops up, as if the film were new to him. On a side note, this track appears, from internal evidence, to have been recorded early in 2006. Is it possible that Warner, in creating this set, combined what would have been two separate boxes, thus holding back a few of the films whose audio commentary tracks might have been more timely if released closer to recording?

Crime Wave de Toth

In addition there is the film’s trailer, and a short new “making of” featuring, for no discernible reason and to no profitable end for the viewer, that pontificating windbag with nothing to say, Richard Shickel. Fortunately he is joined by others who do have something to say, including Oliver Stone, Alain Silver, Elizabeth Ward, Christopher Coppola (who sounds just like his brother Nicolas Cage), and de Toth himself in archive footage. In any case, Crime Wave is an efficient programer, but I’m not so sure that it is a noir, what with its photorealism and its reasonably happy ending.

Decoy Gillie

Warner Bros has cleverly paired Crime Wave on the same side of the second disc with Decoy, as Decoy is written by one of the actors in Crime Wave, Ned Young, a writer and actor who suffered at the hands of HUAC. It’s a complex tale adapted from a radio play by Stanley Rubin concerning a femme fatale named Margot Shelby (British actress Jean Gillie, who was briefly married to the film’s director Jack Bernhard , and who died a few years later with very little of a film career), who contrives to ensorcel a doctor (stage actor Herbert Rudley ) into reviving her sugar daddy, a dead row inmate (Robert Armstrong), after his execution, so that she and her third lover (Edward Norris ) can dig up the buried loot. The plot isn’t told in an orderly fashion, however. After a mysterious, zombie-film style opening, the tale is told in elaborate flashback form by Shelby to tough guy cop Joe Portugal (Sheldon Leonard), who also figures in a lot of her flashback, as she lay dying.

Shelby is touted as filmdom’s cruelest femme fatale, but I didn’t find her so “bad.” Her crime career is carefully motivated, and she kills with less lurid excitement than Phyllis Dietrichson in Double Indemnity or Annie Laurie Starr in Gun Crazy. She is an entertaining creation, however, because she seems fully fleshed out by the script and by Gillie: literally it seems, as her daring cleavage was commented on by Variety, as the disc points out.

In any case, though Decoy doesn’t bear any of the visual traces we associate with, or should associate with, noir, it does include a essentially moral man whose will is sapped by the demoness who takes down everyone with her in her pursuit of money. But that may be due to the fact that the film was made for Monogram, the so-called poverty row studio, which later became Allied Artists, only to be consumed by Warner, itself in turn consumed by Ted Turner. Hence the film’s presence in the set.

Decoy Rubin

As with all the films in the box, Decoy comes with an audio commentary track, this one with writer and producer Stanley Rubin, hosted by Glenn Erickson, a film editor, filmmaker, and writer (he says on the track that the site DVD Savant is his, while I always thought it was attached to DVDTalk). Erickson is giddily enthusiastic to have Rubin on the air, and solicits many amazing little nuggets of Hollywood lore from him, such as that he almost “discovered Marilyn Monroe, and that he also cast Clint Eastwood in his first movie, years later collaborating with him again on White Hunter, Black Heart. The little making of that follows is shorter than the one for Crime Wave, but features a more interesting selection of pundits, including Dick Cavett and Molly Haskell. But I will have more to say about the pundits and audio commentators for this set in future installments.

Quick Stop Thingamabobs: 8/6/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Dino sure knew how to throw a special… (Thingamabob)
  • What if Star Trek were done by the Schlesinger Studios?… (Thingamabob)

Have a THINGAMABOB? Send it in!

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August 5, 2007

Monkey Talk with Paul Dini: Frozen Treasure

Filed under: Monkey Talk,Quickcasts,Video — UncaScroogeMcD @ 11:52 pm

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-By Paul Dini & Rashy

Paul Dini’s “Monkey Talk” (co-hosted by his irrepressible sock monkey son, Rashy) returns as Rashy embarks upon a life of piracy – with Paul and Calla as his next mark. Be sure to check out Rashy’s official site at LittleRashy.com…

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DOWNLOAD:
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August 3, 2007

Trailer Park: Buying My Time

Filed under: Columns,Trailer Park — admin @ 1:41 am

By Christopher Stipp

Archives? Right Here…

Instead of putting off and putting off and putting off my vow to somehow market my first book I am letting people download my first book for free. Give it a preview, read the whole thing or, if you like what you see, send me some kind words or donation for the actual book. Download and read my “Thank You, Goodnight” right HERE.

Ok, children…I’m finally back after the Con and I am just spent. Really, I got home last Sunday and still haven’t found the kind of energy that kept me going for twelve straight hours a day as I was working the floor. Here then are some of my half-assed highlights from Comic-Con 2007:

A) I find it very amusing that, in this space, mere months ago, I bagged on the SUPERBAD trailer. I honestly could not find one iota of inspiration within its 2 and 1/2 minute frame. Now that I am back from Comic-Con I can say it was one of the best comedies I’ve seen this year, even better than the over-hyped KNOCKED UP. Just an observation.

B) Two words: Press Line. I know there are hundreds of us around the Con and by us I do mean journalists. I don’t think it would be that much of an imposition for there to be a few seats in order to help those of us who aren’t in the studio’s pocket and need a little courtesy to cover a story. That’s fine, though, the way it is now. All I know is that if I can’t see it, I can’t cover it.

C) The bread that I broke with the cast of G4 was perhaps one of the better memories I will carry with me in all the years I have done this. All I can say was that that the cheese plate was delicious.

D) Big ups to Rogue Pictures for hosting one great breakfast in support of DEATH SENTENCE, directed by James Wan of SAW fame, on Saturday morning. Not only was this a well-managed event but it put this film on my radar as one that I must/have-to check out.

E) While a lot of other sites were busy chasing their need for exclusive A-list material, I am genuinely pleased at the coverage for MONSTER SQUAD I obtained.

F) Missy Peregrym. I’ve talked to her once, twice and now three times; you’ll feel her flavor soon enough again right in this space.

G) I am glad I ditched the audio interviewing in lieu of video. You’re all going to be subjected to video of my Ray Romano-esque voice as I chat up those who I met; Blair Butler was absolutely wonderful.

Z) If there are any writers out there who tell you that Comic-Con is an overblown affair almost not worth covering needs to be checked into the boards by a rabid mongoloid on ice with a hardwood hockey stick. Yes, you can make a case for all things lame and all things sucky and all things shitty but to be perfectly honest there was a sense of geek delight to be able and partake, and report on, everything I was privy to because I know there are people who only get the lo-fi experience; they have to stand in line, they don’t get to do 1:1s with anyone, they have to endure being huddled in with the rest of the crowd, they don’t get invited to parties and they sure don’t get invited to press screenings. If I were to go as a casual fan I would dream of being able to do what I did last weekend. I’ll be honest: It was nice to be recognized as an actual writer, reporter, on events going on and there is really nothing that can compare to having a little recognition and respect tossed my way when I got introduced as a, “writer for Kevin Smith’s….”

Comic-Con was absolutely still worth it…even though I did get shafted for being able to see that footage for IRON MAN. That part sucked. That part I would give back. Everything else, though, was golden. Sorta.

I AM LEGEND (2007)

Director: Francis Lawrence
Cast:
Will Smith, Alice Braga, Salli Richardson-Whitfield, Willow Smith, Charlie Tahan Olsen
Release: December 14, 2007
Synopsis:
Robert Neville (Will Smith) is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable”¦and manmade. Somehow immune, Neville is now the last human survivor in what is left of New York City…and maybe the world. But he is not alone. He is surrounded by “the Infected” – victims of the plague who have mutated into carnivorous beings who can only exist in the dark and who will devour or infect anyone or anything in their path. For three years, Neville has spent his days scavenging for food and supplies and faithfully sending out radio messages, desperate to find any other survivors who might be out there.

All the while, the Infected lurk in the shadows, watching Neville’s every move, waiting for him to make a fatal mistake. Perhaps mankind’s last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But his blood is also what The Infected hunt, and Neville knows he is outnumbered and quickly running out of time.

View Trailer:
* Medium (QuickTime)

Prognosis: Positive. I know I’m not the only one who finds Will Smith, when he’s being Will Smith, to be an utterly exacerbating rash in a film.

Sure, you can have Will Smith being Will Smith in INDEPENDENCE DAY and not mind so much because, really, everyone else is half-assing it as well; even Jeff Goldblum isn’t as creepy as is his want.

This all said, however, I find his turn in this trailer refreshing to the point that the man has some resonance long after you’ve seen it. I found myself thinking, ensconced in the confusion of what I was watching. For those who have no idea of what it is, do yourselves a favor and not look before you leap into this preview. What makes the moments here so compelling are the purposeful ways in which information is withheld from us as an audience.

For instance, y por ejemplo, you’ve got Will curled up inside a bathtub with a shotgun splayed across his shoulders and legs. We don’t know what the deal is or why the odd sleeping position, I can only imagine the crink that not even a vat of Icy Hot would be able to get out the following morning, although maybe he’s one of those drunken guys who have sunk to chugging green rubbing alcohol in the bathroom. It could happen.

Will’s voiceover isn’t as grating as you would think. He’s reserved, pulled back, and this is just a treat to be able and hear because there is no need for him to “project” to anyone. The visuals, as well, compliment the action on the screen as chaotic as it is: there’s a city in full-on evacuation mode, a la INDEPENDENCE DAY, and of course there is a wife and kid involved, none of which I am guessing is going to make it past the 1st act. (We need our heroes to have lived and lost in order for them to seem compelling!)

What I like, what I really like about this trailer is the total clusterfuck that the incoming missiles do to the narrative. For you eggheads who read you already know what’s what but, for me, I liked the anomie, the chaos, and the eventual quiet that follows. The aftermath of what seems like a thermonuclear war that has devastated everything and everyone. It’s a brilliant rendering and I am quite impressed that Johnny Voiceover didn’t come running into the room to spoil the fun.

“Day 1001″

Now, again, Will gets behind the mic to continue the voiceover and I couldn’t be more impressed at the restraint. As he moves through a barren and hollow New York City I can’t help but feel actual trepidation as he skulks his way with his pump action friend at the ready. And I have no clue, still, about what he’s so on guard for but you feel something under the surface.

The end, where you know there is something hiding in the darkness? This is where the payoff just comes right you. Yeah, you don’t see what’s coming or what it is that has Will so uptight but so what. There’s enough here to warrant the feeling that this is a movie worth keeping track of.

SICKO (2007)

Director: Michael Moore
Cast:
Michael Moore
Release: Now Playing…At A Peer-to-Peer File Sharing Site Near You
Synopsis: Following on the heels of his award winning hit “Fahrenheit 9/11″ and his Oscar® winning film “Bowling for Columbine,” acclaimed filmmaker Michael Moore’s new documentary sets out to investigate the American healthcare system. Sticking to his tried-and-true one-man approach, Moore sheds light on the complicated medical affairs of individuals and local communities. SICKO promises to be every bit as indicting as Moore’s previous films.

View Trailer:
* Large (QuickTime)

Prognosis: Positive; Or, One Of The Best Arguments For BitTorrent. This trailer’s inclusion almost seems perfunctory.

I don’t think that you could easily dismiss the story about Michael Moore paying the insurance costs for one of the country’s biggest outspoken Moore critics as anything less than a nice, calculated move to start the PR machine into overdrive or the recent dust-up about Moore going to Cuba to help out some workers from 9/11 get the kind of medical care that they just couldn’t here in the states but what you can get angry about with great prejudice is that not only do we have people staying at awful jobs simply for the health insurance but we have created the mindset that healthcare only goes to those who can afford to pay it. I realize we’re a capitalist country and as someone who has had to pay hundreds of dollars to my PPO, seething with every dime I have to turn over, I just think that the system of organized healthcare is a broken machine. From privatized drug companies who are lining their coffers with millions of dollars and excuses about R&D to millions of Americans who have to get a referral from a physician in order to see the kind of specialist they know they need.

Sometimes,

“We got an issue in America”¦”

It’s way too easy to pick apart sound clips and snippets where Moore uses Bush against himself but George is right-on when he says that physicians are getting out of the game simply because of issues of liability. You can’t help but feel a twinge of something as George Bush starts this trailer and then have a laugh as George mentions that OB/GYN’s are no longer able to”¦”practice their love with women.”

As you wonder what the hell he meant we launch into the short and sweet about where this movie is going to take us. We traipse into the halls and steps of companies who make their livelihood by adding a subjective element into the twisted world of insurance claims administration. It’s hard to imagine just what’s going on as we move at a breakneck pace through the trailer but, yes, the first volley Moore has in his arsenal is something we all should know: the more claims you can deny the better overall health of the corporation. Nothing is more important than the health of the corporation and that resonates loud and clear.

What’s more is Moore is well stocked in his quick facts. Hauling out old footage of Nixon declaring that he’d like to see America have the best health-care coverage in the world only to quickly use modern footage of some members of congress with accompanying Pop-Up Video symbols about how much each one of them received from health-care lobbyists to say nothing of the bow he puts on it all: we’re far enough down on the health-care list that we’re just inches above Slovenia in terms of quality.

Quick moment of a congressional hearing of a high-level medical insurance reviewer who says that, yes, she denied a necessary operation for a man, who subsequently died, just so she could continue to ensure her ascension within the corporation in question. It’s appalling.

The humor strikes up at about this time. This is where Moore takes his 9/11 workers to Guantanamo Bay in order to get them the medical care that the Bush Administration is taking issue with as he decided to go to nearby Cuba. It’s part showmanship and part factual farce as nothing makes hard cold reality go down better than a little absurdity. This trailer works on all levels. If it doesn’t get your blood simmering then I can’t imagine what would.

ONCE (2007)

Director: John Carney
Cast: Glen Hansard, Marketa Irglova
Release: Now Playing
Synopsis: A modern day musical set on the streets of Dublin. Featuring Glen Hansard and his Irish band “The Frames,” the film tells the story of a street musician and a Czech immigrant during an eventful week as they write, rehearse and record songs that reveal their unique love story.

View Trailer:
* Large (QuickTime)

Prognosis: Positive. This represents one of the most pertinent reasons why there is such an interest in Before Vs. After.

When I initially saw this trailer I was bemused in a way, seeing all the superlatives heaped upon the film by those who have seen it during the festivals in which it has played, but there just had to be something, right, in all the people who are quoted in this piece saying something to the effect of its sheer genius?

I, you, cannot be sure because we’re only presented with the trailer but see how we’re led down a unique path during this trailer’s exposition. Initially we’re offered the very simplistic stylings of Glen Hansard as a busker on the streets of Dublin. (One of *the* best places to get plastered if ever there was one such a place that could earn such a distinction) The tone is implicitly melodic as we’re shown not only the Sundance award it won but our first quote from mainstream media, here played by Kenneth Turan of the LA Times, that heralds this movie as the second coming of Christ.

The trailer is allowed to take over and in a matter of seconds, sheer seconds, we’re let into the tiny world between a man and a woman. The one, as we’ve seen, is a street performer and the other uses the streets in order to make a living. It’s bright as day, clear as crystal, to everyone watching this trailer that these two definitely have something. Whether it’s chemistry or something else entirely as you see them interact with one another you can’t help but feel that this trailer establishes a good amount of personality in a tightly packed amount of time.

In the musical interlude, with one of the best original songs I’ve ever heard placed within an advertisement, the happy-happy joy-joy moments these two kids share just feels real, if nothing else. The way we see them touch one another and get close to one another just feels natural and doesn’t ever stray into forced intimacy.

This is where the drama comes in.

The young girl not only has a husband but the guy is coming to Ireland to check up on his old lady. This is where, even in the brief moment we’ve been exposed to these two individuals, there’s tension and a quick quote from the New York Times, the Chicago Tribune and Rolling Stone just blowing their collective wad over this film. It’s enough to make you think, “Shit, I need to see this film.” The music isn’t bad, the people seem nice as fuck and the location seems awfully nice to look at.

This is where the feeling to drop everything just takes over and the need to see the film overrides any objection to how far you need to travel to see it. For any trailer to be able and do that not only deserves my money but deserves other people’s as well.

After seeing the movie and seeing how it is deserving of a superlative of some sort, be that of best musical, best love story you’ll get dragged to yet be pleasantly surprised at from the first frame, there is no question that this movie will stay with you long after you’ve seen it. It’s the best thing, after SUPERBAD, that I’ve seen this summer.

BRATZ (2007)


Director: Possibly A Guantanamo Detainee
Cast:
Who Cares
Release: Unfortunately, It Will Be
Synopsis:
I pity you if you actually care.

View Trailer:
* Large (QuickTime)

Prognosis: Negative. Enjoy, this is the worst trailer I’ve never had to review.

Weekend Shopping Guide 8/3/07: Rarebit Fiends

Filed under: Shopping Guides — UncaScroogeMcD @ 12:10 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

Best known for his groundbreaking comic strip Little Nemo in Slumberland and his equally groundbreaking animated Gertie the Dinosaur, Winsor McKay also produced a little known comic strip titled Dream of the Rarebit Fiend. A truly bizarre, wonderfully inventive strip, each outing revolved around the odd dreams of anyone who partook of a Welsh Rarebit (essentially a grilled cheese sandwich). Ulrich Merkel has taken the best strips of the strip’s run (from 1904-1913) and presented them in a gorgeous, truly massive tome – The Complete Dream of the Rarebit Fiend (Available exclusively at www.rarebit-fiend-book.com, $114) that any fan of art, strips, comics, or animation should have upon their shelves. Also included is a DVD featuring high resolution scans of the strip’s entire run, and more. Get this book. Get it now.

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There have been plenty of classic animation releases to come down the pike in the last few years, but none have been so hotly anticipated – and fraught with setbacks – as the animated adventures of E.C. Segar’s one-eyed man of the sea. All of that red tape has finally been sheared away, and it is with giddy delight that I was able to dive into the first Popeye, The Sailor Man: 1933-1938 Vol. 1 collection (Warner Bros., Not Rated, DVD-$64.98 SRP). Lushly restored and beautifully presented – packed with more bonus features than you can throw a Jeep at – it truly is the first class treatment that the Fleischer series has long deserved. If you don’t believe me, grab your own copy and revel in the magnificence.

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It’s been a long time coming, but with the publication of the deluxe, hardcover Art Of Bone (Dark Horse, $39.95 SRP), fans have finally gotten a glorious celebration of Jeff Smith’s epic comic journey. Clocking in at over 200 pages, it’s a collection of rare childhood and college art, hard-to-find one shot stories, and more color & black and white artwork than you can shake a stick at. It truly is a must-have tome, and it makes me wish that Smith would revisit that world, post-haste.

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Following up Shaun of the Dead was a tall order, but Edgar Wright and Simon Pegg succeeded in spades with Hot Fuzz (Universal, Rated R, DVD-$29.98 SRP), a fun Brit homage to Hollywood cop flicks. Pegg stars as a London cop banished to the hinterlands by jealous colleagues, who’s then teamed with a witless partner (Nick Frost) before stumbling on a series of suspicious events that uncover the dark underbelly of the seemingly bucolic village. Bonus features include an audio commentary, outtakes, deleted scenes, a featurette on the US promotional tour, and more, but there is a ton of material – including additional commentaries and Edgar Wright’s first film – that were not carried over from the British special edition. What’s up with that?

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Long a web-exclusive, now fans can pick up their very own Mythbusters: Collection 1 (Image, Not Rated, DVD-$29.99 SRP) at their favorite outlet of choice. The 4-disc set features the first 12 episodes of Adam & Jamie’s mythbusting exploits, tackling everything from exploding toilets to the legendary killer penny drop. The set also contains the special “Mythbusters: Revealed” episode. Now, where’s my second collection?

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Though not often held in the same high esteem as the output of studios like Disney and Warner Bros., I will admit that my childhood was brightened by many a cartoon produced by the Walter Lantz studios, many of which featured his most famous star, Woody Woodpecker. The Woody Woodpecker and Friends Classic Cartoon Collection (Universal, Not Rated, DVD-$39.98 SRP) contains 75 remastered cartoons featuring Woody, Chilly Willy, Buzz Buzzard, Wally Walrus, Andy Panda, and Oswald the Lucky Rabbit, plus featurettes, clips from the Woody Woodpecker Show, and more.

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Warners dishes another steamy serving of cinema’s dark underbelly with their second Film Noir Classic Collection (Warner Bros., Not Rated, DVD-$59.98 SRP), featuring 10 more flicks to watch during a night in with your favorite dame. The dime of essentials this go-round include Act Of Violence, Mystery Street, Crime Wave, Decoy, Illegal, The Big Steal, They Live By Night, Side Street, Where Danger Lives, and Tension. Each flick features commentary and featurettes. Warner, dey treat us film saps real good.

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Why has it taken so long for the wonders of the Discovery Channel’s Shark Week to make it to DVD? Imagine my surprise to discover (no pun intended) to learn that the venerable celebration of the ocean’s compelling killers is celebrating its 20th year, as the appropriately titled Shark Week: 20th Anniversary Collection (Image, Not Rated, DVD-$29.99 SRP) illuminates. What more can you ask for on a lazy summer day than 4-discs full of classic Shark Week specials?

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Little known in the US (and that’s a damn – but correctable – shame), Rik Mayall’s Alan B’Stard is the consummate politician on the rise – backstabbing, manipulative, egotistical, corrupt, and loveably despicable. His rise through the British political landscape is chronicled in The New Statesman (Image, Not Rated, DVD-$59.99 SRP), the complete series of which is now available in the US, and is a must-see for any fan of British comedy or political satire. If you love The Daily Show, The Colbert Report, or Black Adder… Well, you must pick this up. So do it.

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Digitally remastered and featuring a much lower price point than the original megaset release, if you’ve been waiting for the right time to snap up Gerry Anderson’s Space: 1999, the 30th Anniversary Megaset (A&E, Not Rated, DVD-$99.95 SRP) is certainly the time to finally act on that impulse. Featuring all 48 episodes and beautiful transfers, the 17-disc set also sports the original promo spots, vintage interviews, galleries, trailers, rare footage, fan-produced episodes closing up the series’ storyline, and much more. Get it. Now.

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As if it weren’t easy enough for lazy schoolchildren to skip reading books and just cram for class by watching the films based on the book, Fox & MGM have taken it one step further by releasing their adaptations bundled with honest-to-gosh Cliff’s Notes of the book – literally one-stop shopping. The initial releases include Lord of the Flies, Anna Karenina, Inherit The Wind, Moby Dick, Henry V, and Jane Eyre (Fox/MGM, $14.98 SRP each).

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Nothing makes a lazy Saturday afternoon go by more enjoyably than a classic Ray Harryhuasen flick – especially one that has been as lovingly restored and presented as the 50th anniversary edition of 20 Million Miles To Earth (Sony, Not Rated, DVD-$24.96 SRP). I’m not really interested in the color version, but the original black & white looks simply fantastic, and the bonus features include a commentary with Harryhuasen, (along with Dennis Muren, Phil Tippett, and Arnold Kunert), a retrospective documentary, Tim Burton interviewing Harryhausen, an interview with Joan Taylor, a look at the music, galleries, and more.

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It’s a veritable CG-bloodbath in director Zack Snyder’s adaptation of Frank Miller’s graphic novel 300 (Warner Bros., Rated R, DVD-$34.98 SRP), which feels like nothing more than an overproduced, ultimately hollow flick full of sound and fury, signifying nothing. It basically uses the tale of the ancient Battle of Thermopylae – in which 300 Spartans supposedly held their own against the massive Persian army – to provide an effects demo reel. Sad, really. The 2-disc collector’s edition features audio commentary, behind-the-scenes featurettes, a spotlight on adapting Miller’s graphic novel, additional scenes, webisodes, and more.

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For more on the true story that Frank Miller drew upon, check out the History Channel’s Last Stand Of The 300 (History Channel, Not Rated, DVD-$19.95 SRP), which examines the origins of the legend behind that epic holding action in 480 B.C.

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Flush your mind of all the summer popcorn cinema with BBC’s Henrik Ibsen Collection (BBC, Not Rated, DVD-$59.98 SRP), a collection of 10 Beeb adaptations of Ibsen’s plays. The 6-disc set features Brand, A Doll’s House, Ghosts, Peer Gynt, Emperor and Galilean, The Pillars Of Society, Hedda Gabler, Rosmersholm, A Meeting In Rome, John Gabriel Borkman, and When The Dead Awaken, plus 8 bonus radio adaptations.

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After the middling Crusade and the pathetic Rangers, it was with trepidation and a small amount of desperate hope that I greeted the announcement of Joe Straczynski’s plans to revive the beloved Babylon 5 franchise with a series of direct-to-video adventures dubbed Babylon 5: The Lost Tales (Warner Bros., Not Rated, DVD-$24.98 SRP). All I can hope, after viewing the disc, is that Joe cares enough about his creation to just leave the damn thing alone. Cheap, sparse, and poorly written, it’s like a sad mockery of what made B5 such a fantastic show. Please Joe… Please… let it go. You created a fantastic universe and memorable characters – stop shitting on your legacy.

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Brush up your Shakespeare with a decidedly modern take courtesy of Shakespeare Retold (BBC, Not Rated, DVD-$34.98 SRP), featuring a quartet of the Bard’s classics – Much Ado About Nothing, MacBeth, The Taming Of The Shrew, and A Midsummer Night’s Dream.

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You can’t get a more flamboyant start to a season than Southfork being in flames to ring in the start of Dallas: Season 7 (Warner Bros., Not Rated, DVD-$39.98 SRP). Pour some lemonade and watch JR earn his title as the most magnificent bastard ever to grace the TV landscape. The 5-disc set features all 24 episodes, plus a featurette on the show’s music.

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McGarret & Dano are back on the surfside beat in the second season of Hawaii Five-O (Paramount, Not Rated, DVD-$49.99 SRP), featuring 24 episodes of Pacific crimesolving that ranges from saboteurs and vigilantes to the villainous Wo Fat. The 6-disc set features all 24 remastered episodes, plus the original episode promos.

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While not as fun as the first season, there was still a spunky charm to be found in the second season of Sabrina The Teenage Witch (Paramount, Not Rated, DVD-$38.99 SRP). Much to Melissa Joan Hart’s dismay, I’m sure, it was pretty clear by now that the true star of the show was Nick Bakay, who provided the voice for Salem the Cat. Never work with animals. The 4-disc set features all 26 episodes.

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So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

-Ken Plume

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Scrubs Blog: My Mailbox Stunt

Filed under: Production Blogs,Quickcasts,Scrubs Blog,Video — UncaScroogeMcD @ 12:08 am

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VIDEO BLOG #84: “My Mailbox Stunt” ““
The Scrubs Blog is back with a look at the mailbox stunt from 6×16, “My Words Of Wisdom”.

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Download Scrubs Video Blog #84:

 

Large (560 x 420 – QuickTime – 37.57 MB)
Small (320 x 240 – QuickTime – 16.17 MB)
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Comics in Context #188: D’OHME!

Filed under: Columns,Comics in Context — admin @ 12:05 am

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cic2007-08-03.jpgIn reviewing The Simpsons Movie for The New York Times (July 27, 2007), critic A. O. Scott wrote, “Ten or 15 years ago, The Simpsons Movie, which has been contemplated for almost as long as the show has been on the air, might have felt riskier and wilder. But The Simpsons, for all its mischief and iconoclasm, has become an institution, and that status has kept this film from taking too many chances”.

Online critic James Berardinelli wrote that “The primary satirical targets are religion (an easy mark), environmentalists (also easy), and government stupidity (even easier). The Simpsons Movie does not go after hot button issues nor does it tie itself to a time and place by addressing current events”. Early in the film Homer Simpson leafs through a Bible and exclaims this book has “no answers.” Is this merely Homer being stupid, or are the filmmakers attacking the Bible? If it’s the latter, isn’t that an unusual move for a family movie to take in a country in which religious believers make up the majority of the population? In the case of environmentalists, the movie comes down on the side of Lisa Simpson, who sincerely believes in the cause. As for “government stupidity,” the movie accuses the government of something worse than mere stupidity.

The more I think about The Simpsons Movie, the more I think it may be considerably more daring than the reviews I’ve read have noticed. And it is very much a satire about what is going on in America right now.

The Simpsons‘ creative freedom, on television and now on film, is particularly striking since it is part of Twentieth Century Fox, which is part of Rupert Murdoch’s vast News Corporation empire. So too is the Fox News Channel, with its leanings to the political right.

According to a July 30, 2007 article in The New York Times, “Activists are urging Home Depot, which recently unveiled an environmentally conscious marketing program, to withdraw advertising from Fox News, whose hosts and commentators dismiss global warming as liberal hysteria. . . .A short video by Robert Greenwald, Fox Attacks: The Environment, has been viewed more than 380,000 times since it was posted on YouTube on July 9.”

But The Simpsons Movie voices a strong environmental theme. Earnest, liberal Lisa tries to stop the people of Springfield from polluting their local lake, and, surprisingly, manages to overcome their apathy on the subject. According to Entertainment Weekly, Simpsons creator Matt Groening “mentioned an article he’d read about a community battling hog-waste pollution,” which became the springboard for the movie’s plot. When Homer dumps a silo full of his new pet pig’s manure into Lake Springfield, he triggers a chemical reaction out of a science fiction/horror movie. A squirrel that was exposed to the polluted water grows many more eyes. (This is surely an allusion to one of the earliest Simpsons episodes, 1990’s “Two Cars in Every Garage and Three Eyes on Every Fish,” in which radioactive wastes from Mr. Burns’ nuclear power plant result in a mutant fish with an extra eye.

In the film Arnold Schwarzenegger is President and gives a free hand to Russ Cargill, the head of the Environmental Protection Agency (EPA), who takes drastic action in response to Lake Springfield’s mutagenic pollution. Rather than do anything to clean the lake up, he dispatches the military to encase the entire town within an enormous dome.

How seriously can we take the satirical treatment of the EPA? The writers’ point may simply be the absurdity of the idea that the EPA, of all government agencies, could possibly engage in this sort of rogue military action. Do any of you recall that in The X-Files movie (1998), FEMA was supposed to be a major player in the all-powerful alien conspiracy to take over the world? Anyone who watched the DVD after FEMA’s catastrophic performance after Hurricane Katrina struck New Orleans probably finds the idea of an omnicompetent FEMA grimly funny.

There are conservatives in the Republican Party who want to restrict the powers of the EPA or to abolish it altogether; they might like The Simpsons Movie‘s portrayal of the EPA as a menace to freedom. Then again, there are also liberals who believe that the EPA has not been effective enough in combatting environmental dangers; they would notice that the EPA doesn’t do anything to solve Springfield’s pollution problem, but just literally puts a lid on it.

I realized what the movie might be up to during the sequence in which we are shown endless rows of National Security Agency employees monitoring the phone calls of apparently ordinary Americans. The NSA man who thus located Marge Simpson is ecstatic, boasting that finally the government had located someone it was searching for. This is presumably a reference to the controversy over the real federal government’s recent venture into warrantless wiretapping in its surveillance of alleged suspects in the “war on terror.”

If the movie’s NSA gag has a serious subtext, then what other political commentary might lurk just under the surface? Are the film’s President Schwarzenegger and EPA head Cargill merely supposed to be a fool and a knave, respectively, with no connection to the real world? Or is this Schwarzenegger, who declares that he was elected “to lead not to read,” intended to remind us of our current President? Schwarzenegger irresponsibly allows Cargill, a man with a questionable agenda, to do whatever he wants. Are we meant to think of President Bush following the ideological agenda of his neoconservative associates in plunging the nation into what now appears to many as a hopeless war in Iraq? Is Cargill’s military assault on Springfield meant to remind us of the current administration’s reliance on massive military force to “solve” the situation in Iraq?

Were any of these allusions made consciously by the writers and producers of The Simpsons Movie? Or were they unconsciously acting to recent political developments in plotting their movie?

Over the years I’ve written a lot in this weekly column about “post-9/11″ stories, which reflect Americans’ new fears of being attacked by a foreign adversary. The Simpsons Movie seems to me to be an example of a post-“post-9/11″ story. The focus of this emerging genre is not the terrorist threat to the nation, but the dangerous measures that the government took in response to that perceived threat: the quagmire in Iraq, the assault on civil liberties.

Another target of this post-“post-9/11″ genre might be an attack on government incompetence, as demonstrated by the Katrina debacle.

Hurricane Katrina was certainly an environmental disaster, and there was nearly universal outrage at the delayed, inadequate efforts by FEMA and the federal government to aid the people of New Orleans following the catastrophe. During the hurricane and its immediate aftermath, over fourteen thousand people sought shelter in the Louisiana Superdome, there were inadequate supplies of food and water, dreadfully unsanitary conditions, and insufficient medical care.

Here’s another parallel that the filmmakers may or may have consciously intended. In The Simpsons Movie the people of Springfield are imprisoned within a dome, where the government leaves them to rot, and we watch as living conditions deteriorate over three months. Are we intended to see a connection to New Orleans after Katrina? My hunch is that this parallel is more than mere coincidence.

In other words, The Simpsons may indeed now be a pop culture institution, but The Simpsons Movie is much more biting politically than the television show usually is, or than film critics have given it credit for.

One of The Simpsons Movie‘s surprises for me was this political subtext. Another surprise was the strong mythic overtones to the plot. The early scene in which Grandpa Simpson collapses in church and begins uttering prophecies seems to me like nothing I’d ever seen on the TV show. Yes, on the surface the scene was played for laughs, and yet the prophecies came true. It was as if by ignoring Grandpa’s warnings (which he didn’t understand anyway), Homer was defying fate, thereby causing the disaster that befell Springfield. Perhaps the Simpsons Movie writers were intentionally parodying “end of the world” movies, and therefore were parodying the trope of the Cassandra-like warnings that go ignored. Still, the prophecies prepare us for the supernatural doings later in the movie.

The Joseph Campbell monomyth structure is especially evident in in the movie’s second act, set in Alaska. Less than a week before, I was reading the middle section of Harry Potter and the Deathly Hallows in which Harry wanders in the wilderness, having escaped from his enemies, but having lost nearly everything and everybody. In The Simpsons Movie Homer and his family manage to escape from the dome (thus crossing a threshold) and flee to Alaska, where they live in an isolated cabin. But Marge and the kids head back, determined to try to help the people of Springfield. Homer refuses, but finds himself wandering through the wilderness, as if through a Campbellian labyrinth.

But Alaska also proves to be Campbell’s “enchanted realm,” and not just in the clever earlier sequence in which Disney-like animals help Homer and Marge prepare for a night of lovemaking. Homer encounters an Iniut woman who is a mystic and serves as his mentor figure. Through her guidance he has a vision in which he undergoes dismemberment: even in a cartoon, it’s somewhat shocking to see Homer’s body separated into component parts. This is the metaphorical descent into the underworld, Campbell’s “Supreme Ordeal,” and a symbolic death. Only when Homer has his epiphany, realizing he no longer cares about himself but knows he must help the people of Springfield, do the parts of his body rejoin. This is his symbolic resurrection, and his new determination to help the townspeople is the Campbellian “boon” that will enable Homer to save them in the third act.

Again, since this is The Simpsons, the filmmakers are parodying the Campbell pattern. But the surprise is that they are both kidding the Campbell monomyth and using it semi-seriously to structure Homer’s character arc.

The third big surprise in the film for me was the portrayal of Homer’s next door neighbor, Ned Flanders. You may recall a past Simpsons episode (“Home Sweet Home-Diddily-Dum-Doodily,” 1995) in which Flanders temporarily adopts Bart and Lisa, and his attempt at baptizing them is depicted as horrific, as if his trying to brainwash them into joining some strange cult. The show usually mocks Flanders for his religious devotion and naive benevolence; this episode was anomalous in casting him as a villain. The movie changes all this, mostly avoiding jokes at Ned’s expense.

In their joint appearance on The Charlie Rose Show (August 30, 2007), Matt Groening said that the secret of The Simpsons’ success was executive producer James Brooks’ insistence from the beginning that the show’s main characters had to have “real emotions.” The movie shows this, too, through Marge’s genuine anguish in separating from Homer, Bart’s unexpected pain at feeling betrayed by Homer, and his growing appreciation of Flanders’ fatherliness. In the movie Ned, who is so often a figure of fun on the TV show, finally becomes as real as characters in The Simpsons can get. He becomes a figure of genuine goodness, an ideal father.

At the climax of the movie, however, Homer surpasses Ned. As the movie’s first act showed, Homer is capable of extraordinary stupidity and irresponsibility. But that is matched by his capacity for extraordinary heroism, as well, as Homer shows when, reunited with Bart, he succeeds in saving Springfield from annihilation.

One reason that I’m glad to see that The Simpsons Movie did so well commercially in its first weekend is that it looks like two-dimensional drawings come to life, just like the TV show–and the way animated feature films used to look! However much computers were actually used on the film, it looks like hand-drawn animation. Therefore the film’s success should help make the case that audiences will still go see traditional-looking animated films, as long as the stories and characters merit their attention.

TRAILER TROUBLES

Like the rest of you, I enjoy seeing trailers for upcoming movies when they give me glimpses of what looks like something I’ll really enjoy. Ratatouille had a spectacular trailer, with Remy fleeing through the kitchen from pursuers, and finally just avoiding being pinned to the wall by flying knives, in an iconic shot used in the movie ads. I was disappointed that the sequence didn’t turn up in the actual movie! The new trailer for next year’s Get Smart movie perfectly captures the spirit of the original television series.

Then there are trailers that seem like cheats. For example, there’s that trailer for the sequel to Batman Begins, The Dark Knight. Those of you who saw it at the San Diego Con should be advised that you didn’t get an exclusive: I saw the same trailer before The Simpsons Movie. There’s a bat symbol on a black screen, and you hear voices–Alfred, the Joker–and that’s it. Well, if they had nothing to show, why even bother?

And then there are trailers that actively persuade me not to go see the movie in question. Before The Simpsons Movie started, I saw the trailer for the upcoming computer-animated film of Dr. Seuss’s Horton Hears a Who. It started beautifully, with a close-up of a CGI flower, but once Horton showed up, speaking in Jim Carrey’s voice, being self-consciously wacky, it became clear that this movie has nothing to do with the gentle humor of Dr. Seuss.

But worse followed: the trailer for a CGI Alvin and the Chipmunks (and really, who asked for this?), in which Alvin tries to prove that a piece of his brother’s excrement is actually a raisin by putting it in his mouth. No, I did not make this up. What were the publicity people for this movie thinking? It’s as if they are handing us critics the perfect image to describe a movie that I fear may look like a raisin but decidedly isn’t.

DOGGING HIS TRAIL

cic2007-08-03-01.jpgBack in May, when I bought the Warner Home Video’s DVD set Tex Avery’s Droopy: The Complete Theatrical Collection from a Best Buy store in midtown Manhattan, not only did the cashier break into a smile at seeing my purchase, but he even launched into a Droopy impression. Last month, I picked up the Woody Woodpecker and Friends DVD set at a different Best Buy, and the female cashier was already holding a copy of her own. Either this is coincidence, or Best Buy has a commendable policy of hiring animation buffs.

Usually I only buy DVD sets if they have special features I want to see. (Otherwise, I can just record the film off television.) The Droopy set includes a documentary about director Tex Avery that tells viewers such things as (1) that Avery’s cartoons move fast (yes), (2) that Avery had great comic timing (true), (3) that Avery’s cartoons frequently break the fourth wall (correct), and (4) that Droopy speaks with a “Southern drawl” (absolutely wrong). In other words, this documentary mostly offers only basic information about Avery’s work which will come as a surprise to those who are first learning about him, but that most animation collectors who purchase this set will already know. Moreover, even though Turner Broadcasting, which owns the MGM Droopy cartoons, also holds the rights to all the cartoons Avery directed at both Warners and MGM, the documentary only shows us clips from the Droopy shorts. So this is a disappointment.

But, of course, the set is worth getting because it has all twenty-eight Droopy cartoons that Avery directed, all of which are good, and one of which, Northwest Hounded Police (1946), is one of the greatest cartoons of his career. I’d always considered this to be a remake of the first Droopy cartoon, Dumb-Hounded (1943). But having this DVD set allowed me to watch them back to back, and now I consider them more as variations on a theme.

In each one a criminal wolf is hunted by Droopy, the slow-talking, slow-moving, melancholic dog who represents the law. But no matter where the Wolf goes, Droopy is there. If there’s one thing that the Wolf succeeds in leaving behind, it is any pretense of realism. In Dumb-Hounded the Wolf flees by car, plane, and boat, at velocities that might make the Flash’s head spin, yet Droopy, who seems barely to move, settles into his hideout, only to find Droopy patiently awaiting him. In Northwest Hounded Police the Wolf races to the Arctic wilderness, finds Droopy, known in this short as Sgt. McPoodle of the Mounties, flees again, and eventually ends up on a tiny Pacific island, where Droopy is concealed beneath a tiny rock. Many times when the Wolf comes face to face with Droopy, his surprise and horror are so great that he does a “take” that bursts the body’s normal limitations: his eyes bulge out like telescopes, or his entire body will fly into disconnected pieces.

Chuck Jones’s Wile E. Coyote has been likened to Sisyphus, in that both eternally strive at a task at which they will never succeed. In these two Avery cartoons, the Wolf is in a Sisyphean situation as well, unable to evade his mild-mannered pursuer. It’s like Les Miserables as surreal farce. Or it’s like a nightmare, in which the dreamer is unable to escape his doom, no matter what he does. It’s a funny-animal version of Kafka. Droopy is like the Greek god Nemesis reinterpreted as an inoffensive-seeming little dog.

Watching the two shorts back to back, I discovered that even though they have the same premise, they consist of nearly entirely different sets of gags. The prominent exception is that at one point in both cartoons, the Wolf is so desperately racing to escape Droopy that his momentum carries him past the sprocket holes at the edge of the film into a blank, white void whereupon he swerves and runs back into the film, his version of reality.

This is a perfect example of the one truly illuminating point that the DVD’s documentary makes: that whereas Disney animated films sought to create a credible reality, Avery broke the rules of reality and reveled in demonstrating that anything can happen in a cartoon. In effect, he was the anti-Disney.

Northwest Hounded Police is the better of the two cartoons because it pushes the comedic nightmarish aspect even further beyond the bounds of reality. At one point the Wolf undergoes plastic surgery, only to look in the mirror and find that his new face is Droopy’s! How can he outrun Nemesis when it is part of himself? (This might also suggest that Droopy represents the outlaw Wolf’s sense of guilt, which is indeed a part of himself he cannot escape.) At another point in Northwest, the Wolf hides in a movie theater and starts watching an MGM cartoon, which turns out to be, in effect, Northwest itself: Droopy looks out from this cartoon-within-a-cartoon and addresses the Wolf, who understandably panics.

In these two cartoons Droopy and the Wolf do indeed break the fourth wall and speak directly to the audience. Avery goes still further in indicating that these characters know that they are in an a film: not only does the Wolf run past those sprocket holes, but at one pint in Dumb-Hounded, Droopy tells the audience, “I surprise him”–the Wolf– “like this all through the picture.” It’s as if Droopy is an actor who has read the whole script, or an actor who has been in repeated performances of the film, like a performer in a play. Avery emphasizes the artificiality of the animated medium, and this is a subject to which I will return next week.

I’ve already described another cartoon in this DVD set, The Shooting of Dan McGoo (1945), in a previous installment (see “Comics in Context” #100). But before I move on to another subject, I want to mention another of my favorite Avery cartoons in this collection, The Three Little Pups (1953). As its title suggests, it’s a parody of the story of the Three Little Pigs, and in particular, the Disney version, which was then two decades old, with Droopy as Practical Pig. The Wolf of Three Little Pups, cast as a dogcatcher, starts out wearing an expression of melodramatic villainy and conducts a fast, frenzied assault on Droopy’s brick doghouse. But then, abruptly, he stops, shifts into what will be his usual manner for the rest of the cartoon and speaks to the audience in a laid-back Southern drawl (a real one). This Wolf is voiced by the great Daws Butler, using the same Southern drawl that will eventually become the voice of Huckleberry Hound. Unlike his frenetic counterpart in Northwest, this Wolf moves and speaks slowly and quietly, much like Droopy himself. Their ensuing battle reminds me of Laurel and Hardy comedy shorts like Them Thar Hills (1934) and Tit for Tat (1935), in which the comedy duo and their adversary move with a quiet, grave dignity in the course of unleashing slapstick violence on each other. I will also return to the evolution of Butler’s easygoing Southern canine in next week’s column.

OH YOU SQUID

I surrender. I can resist no longer. My Quick Stop colleague Fred Hembeck is right. SpongeBob SquarePants really is as good as he says it is.

Nickelodeon premiered five new SpongeBob episodes during the last full week of July. I caught some of them in the midst of watching a good number of animated cartoons from the Hollywood studio period for this week’s column and next week’s. SpongeBob may not have their high production values or masterful animation, but in terms of wit and invention and strong characters and voice acting, the new SpongeBob cartoons I saw were equally enjoyable as many of these classics, or even more so.

Among the new SpongeBob shorts I saw was “The Krusty Sponge,” which introduces a feared food critic who is nonetheless less imposing than Ratatouille‘s Anton Ego: Gene Scallop, based on–and voiced by–Today Show movie reviewer Gene Shalit. After Scallop’s review of the Krusty Krab restaurant singles out cook SpongeBob for praise, owner Mr. Krabs, the very personification of greed, converts this fast food establishment into a SpongeBob theme restaurant. It’s a subversive satire on the omnipresence of SpongeBob merchandising in real life, suggesting that it threatens to overwhelm the original character in the cartoons.

I’ve been thinking that SpongeBob is like a 21st century equivalent to Mickey Mouse. Each has a boyish persona, and each has an iconic appearance based on simple, appealing geometrical shapes: circles for Mickey, and a square–along with the curves of his mouth and eyes–for SpongeBob. The big difference between Mickey and SpongeBob is that SpongeBob is allowed to act downright weird at times.

Here’s an example. In another new short, “To Love a Patty,” SpongeBob encounters a “Krusty Patty” hamburger that he deems to be so perfect that he literally falls in love with it. Though SpongeBob is old enough to have a full time job, live on his own, drive and (in another new short, “Boat Smarts,” even shave), he is basically a big kid who doesn’t appear to have hit puberty yet. His creator, Stephen Hillenburg, has asserted that SpongeBob is “somewhat asexual”. Nonetheless, in “To Love a Patty,” it’s as if SpongeBob has enormous sexual urges that get misdirected onto his perfect hamburger, whom he names “Patty” (of course).

This allows the cartoon makers to satirize the blindness of love. As time wears on, “Patty” starts to rot and stink, but SpongeBob sees and smells only “her” imagined beauty, until the stench and decay finally becomes too great for even him to ignore.

Since SpongeBob, as a cook, creates hamburgers, then you could read “To Love a Patty” as a satire of the creative artist’s obsession with his own creation, and his blindness to its flaws.

Finally Mr. Krabs persuades SpongeBob that passion for a Krabby Patty is good, but it must be fulfilled by eating the Patty, which SpongeBob proceeds to do. Mr. Krabs has convinced SpongeBob to redirect his sexual drives into hunger, consuming and destroying the object of his desire. If you think about it, this suggests something a wee bit disturbing about Mr. Krabs. It’s just as well that he clearly sublimates his own sex drives into his ecstatic passion for money.

SpongeBob’s relationship with the female squirrel Sandy Cheeks seems to be a platonic friendship. Then again, those two express their friendship by having karate fights with each other. What’s being sublimated through all this mock aggression?

Well, Hillenburg was quoted in the same article as saying “The character SpongeBob is an oddball. He’s kind of weird, but he’s kind of special,” I can agree with this.

However, watching several new episodes reinforced my decision that my favorite character in the show is SpongeBob’s neighbor and co-worker Squidward, who is perennially annoyed by SpongeBob’s wacky behavior. If SpongeBob is childlike, then Squidward is an adult. Moreover, whereas the extroverted SpongeBob likes almost everybody, Squidward feels no obligation to put on a happy face to please other people when he doesn’t want to. Perhaps Squidward’s appeal is that he gets to voice the exasperation and irritation that we normally have to hold back.

Squidward also reminds me of a 1971 film by Federico Fellini, The Clowns. In it, Fellini concentrated on two types of clowns, which are often paired; the White Clown, who is the straight man, an actual or wannabe authority figure, and the Auguste, whom Fellini called a “rebel,” who engages in slapstick. The White Clown represents order; the Auguste is comedic chaos. Squidward is in the White Clown tradition, forever annoyed by SpongeBob, his personal Auguste. (I figured out that Squidward is analogous to the White Clown before starting this week’s column. And in the course of writing it, I discovered a Wikipedia article that also labels Squidward as White Clown and SpongeBob as Auguste.)

Next week Ill be reviewing the new Woody Woodpecker and Friends DVD, and Woody and his recurring antagonist Wally Walrus also fit the categories of Auguste and White Clown, respectively. But SpongeBob and Squidward aren’t actually antagonists: SpongeBob regards Squidward as his friend and is normally oblivious to Squidward’s disdain towards him.

Moreover, the SpongeBob series even grants Squidward some sympathy for putting up with SpongeBob’s manic efforts at friendship. In “The Thing,” a short that debuted in January, but which I saw last weekend, Squidward is accidentally covered in cement, rendering him unrecognizable and unable to talk. SpongeBob finds him, decides that he is some strange kind of animal, and adopts him as a pet. The short takes Squidward’s point of view, focusing on his horror at being caught in this nightmarishly absurd situation, and being unable to stop it.

It may be that Squidward secretly envies SpongeBob and wishes he were more like him. In the new short, “Good Ol’ Whatshisname,” Squidward discovers that the popular SpongeBob knows the names of all of the Krusty Krab’s regular customers. Squidward becomes so obsessed with learning the name of a customer before SpongeBob does that he steals the customer’s wallet and lands in prison.

In another new short, “Squid Wood,” SpongeBob creates a puppet version of Squidward. The puppet presumably represents Squidward as SpongeBob envisions him, and keep in mind that SpongeBob is generally oblivious to Squidward’s grumpiness. Everyone prefers SpongeBob’s kinder, gentler puppet version of Squidward to the real Squidward, to the latter’s horror.

And in another new short, “Breath of Fresh Squidward,” an electric shock temporarily gives Squidward an alternate personality. Squidward’s Mr. Hyde turns out to be even happier, nicer and more extroverted than SpongeBob. Thus SpongeBob and Squidward reverse roles, with Squidward unwittingly driving SpongeBob to distraction. Finally another electrical shock restores Squidward to his grumpy normalcy. The more benign side of Squidward is once more trapped within his subconscious, and it would take the equivalent of a bolt from the blue to free him once more.

ADVERTISEMENTS FOR MYSELF

This is the final weekend for “Stan Lee: A Retrospective,” the exhibition that I co-curated at the Museum of Comic and Cartoon Art in Manhattan (www.moccany.org). The show closes on August 6.

The ComicMix website recently ran Mike Gold’s very appreciative review of The Marvel Vault, the book I co-authored with legendary Marvel writer and editor Roy Thomas. You can see the review here, and ComicMix, a mix of news blogging, columns, and even podcasts about comics and related subjects, is well worth visiting on a regular basis.

–Copyright 2007 Peter Sanderson

Quick Stop Thingamabobs: 8/3/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Let’s just call this “Birthday Day” here at QSE, starting with the Magilla Gorilla behind this here site… (Thingamabob)
  • And followed by tidings for Dom Deluise… (Thingamabob)
  • And for all of you whose birthday it isn’t… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

August 2, 2007

Win Popeye the Sailor on DVD!

Filed under: Contests — widge @ 12:15 pm


In conjunction with Warner Home Video, we’re celebrating the DVD release of the deluxe, fully remastered adventures of E.C. Segar’s one-eyed man of the sea by giving away 3 copies of POPEYE THE SAILOR: 1933-1938 Volume 1.

All you have to do to enter is fill out the entry form below”¦

Contest ends at midnight EST on Tuesday, August 7th.

Enter the contest!
Email:
First name:
Last name:
Street Address:
Address Line 2 (if needed):
City:
State/Province/Whatever:
Zip Code/Postal Code:
Country:
Birth Month:
Birth Day:
Birth Year:

Official Rules

No member of Quick Stop Entertainment or their immediate families may enter.

No Purchase necessary to win.

Must be 18 years of age or older to enter.

All submitted entries must be received by 11:59pm EST on Tuesday, August 7th.

The winner must allow 4-6 weeks after announcement of win to receive the product.

Quick Stop Thingamabobs: 8/2/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Frank Conniff, of MST3K fame, and animation historian Jerry Beck have teamed up for the wild and wacky Cartoon Dump… Peep the first episode here… (Thingamabob)
  • Universal Hollywood is yanking it, so let’s take one last look at Back To The Future: The Ride… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

August 1, 2007

Toy Box: This Year’s Top 10 From SDCC

Filed under: Columns,Toy Box — admin @ 12:13 am

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I’ve been going to SDCC every year now for at least 8 years or so, and every year it gets bigger and wilder. The crowds this year were just amazing, with thousands of people tracking through the center, filling the auditoriums, and standing in line… after line… after line.

And just like past year’s, I thought I’d list out my top ten great announcements, products, and general stuff from this year’s show. So without further ado, let’s go!

10 – Mattel’s handling of their exclusives. Unlike some other companies that still don’t seem capable of managing their exclusives, Mattel made plenty to go around. I picked mine up over the course of a couple days, and there was never a major line or any sort of serious fear that I couldn’t get them. They produced a very cool accessory in the Man-bat as well, with some really creative packaging.

9 – Cars. Yep, Mattel actually gets two nods. They had a TON of new cars on display at the show, more than I could count. They have plenty of plans to continue the successful series, and if they can manage to get the case assortments right, they just might pull it off.

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8 – Marvel Icons. I enjoy the cheaper Marvel 12″ line, and I think Hasbro has done a much better job with the larger scale than the smaller scale. They had a good showing at the con of new figures, including Nightcrawler, Daredevil, Phoenix and others.

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7 – Mezco and Heroes. Yep, they had themselves a little sign at their booth announcing that they had the license. I can’t wait to see what they come up with!

6 – Hasbro had an excellent booth, and really pulled out the stops on all their lines, including Star Wars, Marvel, Transformers, and even Sigma 6. The Indy display was cool, and they showed a TON of new product in lots of lines.

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5 – The Four Horseman exclusive was the best of the bunch. Ramathorr was the main exclusive, but they produced eight different versions of their exclusive (and they were VERY different!). Each of the eight was sold through a different outlet, and some of them were at SDCC as well. The FH have themselves another winner with this line up, and I’m betting one or more of these guys end up on ‘best of’ lists later this year.

4 – The Simpsons movie. Okay, so technically it wasn’t the con, but I did see the midnight showing on Thursday in San Diego. It kicks ass. I laughed from start to finish, and after having seen the movie, I appreciate the figures (and their lines) from Mcfarlane that much more.

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3 – Hot Toys. The figures that are being distributed through Sideshow were on display, including Rocky, Prison Break and Rambo. I had no idea how good they looked in person, and I ended up buying a First Blood Rambo later at the show. Look for some new Hot Toys reviews soon, including their Jack Sparrow and Sao Feng!

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2 – At the top of the list is not one but TWO Cinemaquettes from Toynami – the Godfather and the Predator. Both of these 1/3 scale figures were truly amazing, and looked as real as you could possibly get. Let’s not forget that with over $1000 price tags, Cinemaquettes ought to be amazing, but it’s still great to see that they turn out so well.

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1 – The top announcement for me actually came early, a couple days before the show. Sideshow Collectibles picked up the license to produce 12″ figures (and PF’s, along with some other goodies) for all four Indiana Jones movies. For a lot of collectors, myself included, this is a dream come true, and I can’t wait to see their first offering.

So that’s it for me. I’ll be putting up coverage over at my site for the next week, as I get time to go through the hundreds of photos. See you at the con next year!

Game On! 7-31-2007: Game Related

Filed under: Game On! — admin @ 12:11 am

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Something strange has been happening lately. I know there’ve been new releases for games, but I haven’t been GETTING them. I’m SUPPOSED to, but lately, it’s like pulling teeth to actually get a hold of releases. Well, I’ve finally gotten my hands on a few of the newer titles”¦and, in the meantime, some new DVDs as well, that are sort of related to games, so let’s take a look at what we’ve got, shall we?

THE 80S AIN’T WHAT THEY USED TO BE

ghrocks.jpgAnyone who knows me, knows what a huge 80s music fan I am. And these same people also know what a huge GUITAR HERO fan I am. So, you’d think that the new expansion to the series, GUITAR HERO ENCORE: ROCKS THE 80S would be a perfect fit, no? Well, in many ways it is, and in many ways, just like the 80s, it’s light on substance, and you don’t get as much bang for your buck.

First, let me be perfectly clear”¦this is an expansion. In fact, Red Octane has made it painfully plain that this isn’t anything more than just GHII with a fresh coat of neon paint. The venues are the same (just new colors). The characters are the same (well, you only get half of them, and the one’s you do get”¦well, they’re all 80s glam). Hell, even the loading screens and menus are the same. It’s the same damn UNLOCKABLES from GHII (well, guitars and finishes anyway”¦no new tracks and videos). And sadly, that’s the biggest problem with the title from the start”¦while it does offer 30 new tracks for your fretboard frenzies, it doesn’t offer much more.

And those tracks”¦sure, the 80s had a LOT of great music”¦but great GUITAR music? Aside from a few hair metal bands, it’s a mixed bag. Sure, there’s some great tunes on here, but honestly, I think the choices of these tracks has some bearing on what will appear on GUITAR HERO III rather than what was popular in the 80s (why no Van Halen? Where’s BEAT IT? And why ONLY A LAD instead of WEIRD SCIENCE by Oingo Boingo?). Some are good (who knew a Winger song would be so hard to play) and some are questionable (somehow, I don’t think an 80s cover of RADAR LOVE or BALLROOM BLITZ should count). Worst of all, however, some are just downright BORING to play. I love Accept’s BALLS TO THE WALL and Quiet Riot’s METAL HEALTH as much as the next headbanger, but good LORD, they are dullsville to tap the strum bar to.

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Also, I know the 80s were full of things like this, but when have you ever heard a song fade out IN CONCERT? In the game, you’re supposedly playing alive show”¦so why should THE WARRIOR fade out at the end? Hell, the first four songs in the game EACH have sections where YOU’RE NOT PLAYING AT ALL. Sigh”¦Before I start sounding like I hate this game (well, it maybe too late for that”¦) I will say that once you get into the groove of things, it swings just the way it should. And if all the songs may not be familiar to you, some of them (especially the later ones) finally do get to be fun to play. Plus, it’s something to tide you over until the next installment. Still, for $50 (the price of a full game), it seems more like the decade of excess than ever…

One Gamer’s Opinion:

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ARGH-MAGEDDON

mkwii.jpgI hate to say it, but even after all these years, I’m still a MORTAL KOMBAT fan. I even dug its late effort, MK: ARMAGEDDON when it was released on the Xbox and PS2. Now that it’s on the Wii, however, we have another addition to the “late to the party port” pile of games with tacked on waggle controls.

The theory was simple: take the last entry and map all the special moves to motion sensing movements. Sounds simple, yes, but it’s execution is anything but. To do this, you’re supposed to hold down the B button on the wii-mote and make the appropriate motion. Unfortunately, the game never knows that you’ve made it. I’ll be standing there, swinging my arms back and forth wildly screaming “throw the damn spear!” while instead Scorpion is getting his ass handed to him by the CPU.

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What’s worse is the normal attacks? They’re mapped to the D-PAD. Yes, that’s right. Up, down, left and right on the tiny d-pad at the top of the wii-mote are your punches and kicks. Joy.Still, at least they threw in a few specials for the Wii crowd, such as console exclusive fighter KHAMELON (from the N64 version of MK TRILOGY) as well as wii-mote driving in the (admittedly lackluster) side game MOTOR KOMBAT. Plus, there’s the option to use the classic of Gamecube controllers in the game…but that sort of defeats the purpose of the port, now doesn’t it?

Sure, the graphics looks decent (for the Wii) and the character creation is pretty cool (I love all the copyright infringement options) but overall”¦this is a port that should have stood well enough alone.

One Gamer’s Opinion:

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DVD REVIEW: HOT FUZZ

2d-dvd-hot-fuzz.JPGWait a sec”¦a DVD review”¦in a video game column? Yes, I know what you’re thinking”¦what does this have to do with games? Well, honestly, co-writers Edgar Wright and Simon Pegg (of SHAUN OF THE DEAD fame) are just like you and me, dear readers. They’re geeks, and they relish in their geekdom, making movies that they and their friends would enjoy, just as much as we would. HOT FUZZ is such a film, and while it’s not DIRECTLY based on a game, its influence is apparent.

Building on the idea of a American buddy cop movie, but setting it a sleepy English village gives the filmmakers freedom to pay homage (and spoof) not only to the Michael Bay and Tony Scott blockbusters, but also the awesome British thrillers of the genre, including the original WICKER MAN. Helping this along is a huge cast of British cinema who’s who playing seemingly bit parts in what certainly unfolds into one of the biggest (and most hilarious) switcheroo’s ever. Top cop Nicholas Angel (Pegg) is so good that his superiors in London decide to ship him out to the quiet village of Sandford”¦mainly because his 400% arrest record is making the rest of them look bad. While in his new digs, he’s gone from chasing thugs to chasing swans, all until a mysterious string of “accidents” seem to point to something larger”¦and much more sinister.

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Aiding and abetting is Angel’s clueless partner Danny Butterman (SHAUN OF THE DEAD’s Nick Frost), who’s desire for the “real” action he sees in film is only matched by his town’s complete lack of a need for it. While Danny dreams of living his favorite films (BAD BOYS II and POINT BREAK), Angel has, and his admiration for that is endearing”¦and one of the film’s buddy aspects that it plays so well on.

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Where the film really shines, however, is the way it mingles the drama and action so expertly. Just as with SHAUN OF THE DEAD’s horror, pathos, comedy and romance, HOT FUZZ takes the best moments from every cop movie you can think of, and lovingly pays homage and tribute to them. And yet it still does something unique and special with it, all while placing it in firmly in the world of comedy. If only American parodies could do that (I’m looking your way DATE MOVIE and EPIC MOVIE).While the film itself is hilarious and unique, the DVDs special features are truly for the fans of both the filmmakers and all things FUZZ. The audio commentary shows what geeks Pegg and Wright truly are, with Edgar spouting off the catalogue of films they watched, referenced and loved in their youth, and Simon stakes claim to how the film is set up like a video game.

Simon: “Here’s the street level, then it’s the bar level.”

Edgar: “Why didn’t they follow him?”
Simon: “well, they have to do the supermarket level first”

Also included is the featurette on the FUZZBALL RALLY, the US Tour the boys (Pegg, Wright and Frost) took the film on to promote it before its release. I was privileged enough to see it on the DC leg of the tour…

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…but unfortunately, did not end up on the DVD. Still, it’s a fantastic, candid documentary of three close friends and how much the American audiences embraced this film (including AIN’T IT COOL’s own Harry Knoweles and this site’s big bossman Kevin Smith).Sadly, while we get the FUZZBALL US doc, we know more features are available as Simon and Edgar allude to the “other commentaries” and features that are only available on the version across the pond in their one commentary on the US disc. Still, there’s the usual outtakes, deleted scenes, HOT FUNK (the airline version of the film, shown in snippets of excised expletives) and THE MAN WHO WOULD BE FUZZ (Simon and Nick doing their Michael Caine/Sean Connery impressions). Also, and this may be a bit nitpicky of me, but in the trailers section, the “UK TV SPOT #2″ and “DIRECTOR’S CUT TRAILER” are switched”¦but the fact that the awesome internet-only cut trailer was included at all is still awesome.

Fans of SHAUN will have a lot to enjoy here, but both films stand strongly on their own. This is more of a movie for fans of the genre, just as SHAUN was, and no one seems to be a bigger fan than the filmmakers are themselves. Full of action, drama, mystery, and of course, gut-busting laughs, this is one of my favorite movies from this year, and already my favorite DVD. Now if only I could get the UK features”¦

One Gamer’s Opinion:
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(oh, and if the audio commentary wasn’t enough”¦on the webpage for the DVD, there’s a video game of the film! Check it out below.)

http://www.hotfuzz.com/game/

Till next time friends”¦

 

THE GAME ON! RATING SYSTEM

 

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Ratings From Greatest to Least:

Kick Ass, Right On, Okay, Eh, and Stinker (aka CRAPTACULAR)

Nocturnal Admissions: DVD Review, Hot Fuzz, James Ellroy: American Dog, Rebus: Set 2, Starter For 10

Filed under: Columns,Nocturnal Admissions — UncaScroogeMcD @ 12:05 am

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Hot Fuzz box

I was a little puzzled why Hot Fuzz didn’t do better on the American circuit. Hot Fuzz is, of course, the follow up to the same team’s Shaun of the Dead. With Simon Pegg and Nick Frost once again front and center, and with Edgar Wright behind the camera, where he also co-authored the script with Pegg, you’d think that the returns would at last match the zombie film. But despite having what one would presume to be a built in viewership, the film only made some $3 million dollars its first weekend, before eventually crawling up to $28 million. Worldwide the film has made $78 million so far. Then I took a closer look at the numbers, and found that Shaun also only made $3 mil its first weekend and accumulated only $13 million in the U. S back in 2004. Shaun is probably an example of a film that is notable less for how many people like it than for who it is that like it, people like Harry Knowles and Kevin Smith. The same, perhaps, with Hot Fuzz, and no doubt it will be as big on DVD as Shaun ended up being.

Fuzz Pegg

Hot Fuzz (Universal, $29.98, widescreen 2.35:1, also in separate full frame and HD editions, street date Tuesday, July 31, 2007) is as funny a loving parody of buddy cop films as it was on the big screen. As you know, it concerns a talented cop shuffled off to a bucolic English village where he won’t show up the city police. There he nevertheless unearths grand crimes and buddies up with the Chief’s son. The loving parody part comes in with the replications of famous moments from such films as Bad Boys and Lethal Weapon. So why did the film underperform here? I’d speculate that it is for two reasons. One, Americans don’t like their buddy cop films mocked. Look what happened to The Last Action Hero. And anyway, most buddy cop films are already half comedies to begin with. But second, the action is all set in an English village with jokes directed at peculiar English concerns, which flow over or under the heads of mono-cultural Americans. Well, I hope it does better on DVD because it is a terrific, hilarious film that also earns its place among the films of Michael Bay, Richard Donner, and Shane Black.

Hot Fuzz making of

Extras are abundant. There is a short gag moment, outtakes, storyboards, a trivia track, 22 deleted scenes with optional commentary, “Danny’s Notebook,” which is a flip book, trailers for other Rogue pictures, a video record of the US publicity tour (28 minutes long), in which at one moment Wright and Frost comically stuff payola in Harry Knowles’s shirt, enacting redundantly what so many filmmakers do figuratively, a collection of bowdlerized moments (just over three minutes), and a commentary track with Pegg and Wright.

Ellroy box

Going the other way, there are certain American personalities who always attract European documentarians. One of them is the cartoonist John Callahan, who has had at least three docs made about hiim. Another is James Ellroy. James Ellroy: Demon Dog of American Crime Fiction, made by Austrian television, came out in 1993. That was followed by James Ellroy’s Feast of Death in 2001. Now comes James Ellroy: “American Dog” (Facets, $29.95, widescreen 1.85:1, in English, French, and Duch, street date Tuesday, July 24, 2007). Made in 2005 by Clara and Robert Kuperberg, who co-wrote and co-directed this 57 minute movie.

Ellroy is not only a great American writer, he single handedly changed the detective novel, not unlike three of his predecessors, Hammett, Chandler, and McDonald. Ellroy’s slangy, jazzed up, telegraphese style moves so fast and contains so many hypertext links that he made the ordinary crime novel seem sluggish and old fashioned. Suddenly, hundreds of other books on the same crime section shelves of book stores and libraries were rendered out of date.

Ellroy Ellroy

Essentially, as he did in Reinhard Jud’s Demon Dog, Ellroy tells his story again: battling parents divorce and mother ends up murdered, Ellroy becomes a prowler, drug addict, drunk, fixates on the Black Dahlia case and that of his mother, and a later revisitation of the case as a successful adult writer opens old wounds. Unlike Jud’s film, which spent a lot of time driving around Los Angeles as if it were an alien third world, the Kuperberg’s pull a bit of a Erroll Morris and show Ellroy sitting under staged Bava-esque lighting telling his story to the camera, or reading from his books while shown walking around ex-crime scenes wearing a series of brightly colored and flowered Hawaiian shirts. Ellroy is a straight talker. He tells the truth, in truth’s own language, which is blunt and foul. He doesn’t converse, he lays down the law. He walks a bit like a nerd, and looks like a cross between G. Gordon Liddy and an aging yet fit L. A. patrolman.

The defining moment for Ellroy within the context of his mother’s death was learning that there were two worlds, the official 1950s with its apple pies and mown lawns, and the world of bars and drugs and loose women and men who can murder them and get away with it. He’s like the Teresa Wright character in Shadow of a Doubt, who finally sees the underbelly of Santa Rosa when her serial killer uncle drags her into a nightclub.

Ellroy dinner

Extras include two cinematic records of dinners with Ellroy and some of his friends, first a 13 minute conversation with novelist Bruce Wagner (who pretends that Ellroy hasn’t written My Dark Places), and Rick Jackson, an LAPD cop friend of Ellroy’s, a second 12-minute segment with Dana Delany (a recent muse of Ellroy’s), Joe and Matthew Carnahan and Michelle Grace, a producer, who are the team making White Jazz, and Wagner again. Plus there is a reading by Ellroy from American Tabloid, Ellroy receiving the Jack Webb award (an award given out by the LAPD), and two photo galleries, one of vintage postcards, the other of crime scenes, from a book derived from the LAPD archive for which Ellroy wrote the intro.

Rebus Rankin

One of Ellroy’s favorite authors is Ian Rankin, whose Rebus books are profligate. Set in Edinburgh, these are grim, realistic, carefully plotted books (that should be read in order), that, though they like the kind of prose stylization we associate with Ellroy, do have a cumulative power due to the attractiveness of Rebus himself, the harried DI. They are politically neutral though with a slight liberal tilt, which also runs counter to what we assume about Ellroy.

Rebus box

Nevertheless, Ellroy endorses Rankin’s work, and by now some 10 of the novels have been turned into TV movies, first with a youngish John Hannah, and more recently with an appropriately run down and dragged out Ken Stot. Rebus Set 2 (Acorn Media, $49.95, widescreen 1.85:1, street date Tuesday, July 31, 2007) gathers four of them (“The Black Book,” “A Question of Blood,” “Strip Jack,” and “Let It Bleed”), which aired in 2006 (these shows are technically from series three). The shows are accurate accounts of the books, and generally cover cases with profound effects on the city.

Rebus team

It’s hard to imagine a better actor to inhabit Rebus than Stott. His Rebus is angry and dedicated and has a long memory, and Stott appears to melt into the role, his shoulders slumped, his face haggard, his black suit worn to a glossy moistness. He is accompanied on most of his cases by Detective Sergeant Siobhan Clarke (Claire Price), whose face seems permanently sent in an expression of rabbit-like worry. His nemesis is his boss Detective Chief Inspector Gill Templer (Jennifer Black), essentially a good person but who has to answer for Rebus’s irregularities. In these details, Rebus rather mirrors the similar and more beloved series Touch of Frost.

The four episodes come in fine, if somewhat soft transfers, and with extras, a 50 minute or so making of and a trailer, confined to the fourth disc, plus text only actor and writer biographies related to each episode.

Starter for 10 box

Continuing the British theme is Starter for 10 (HBO, $95, widescreen 1.85:1, street date Tuesday, July 31, 2007), which is most interesting for its cast of future stars than for the upbeat if familiar story itself. The plot concerns the working class Brian Jackson (James McAvoy) a student at Bristol University in 1985 whose goal in life is to serve on the school’s college bowl team. While struggling through college he is torn between two women, the blonde Alice Harbinson (Alice Eve), who wants to grow up to be an actress or a presenter, and Rebecca Epstein (Rebecca Hall), the Molly Ringwaldish radical Jewish activist. Unlike The Way We Were, he ends up with the radical. All in all it comes across like a well-meaning Disney channel teen film, covering all the expected events in just the manner we expect to see them. Again.

Starter star

All the actors are from elite acting families and will be heard from again (McAvoy has already been in The Last King of Scotland), and the actress who plays Brian’s mother, Catherine Tate, is the next Doctor Who partner. The widescreen transfer is fine, and extras consist of a pop up trivia guide, and an HBO “First Look” at the film.

Quick Stop Thingamabobs: 8/1/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Bowie drops by Flight of the Conchords… (Thingamabob)
  • If only all editors had the nose for news that J. Jonah Jameson posesses… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

July 31, 2007

DVD Late Show: Summer Heat

Filed under: DVD Late Show — UncaScroogeMcD @ 12:10 am

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7/31/07

Welcome back to the Late Show, kids!

This week, I’ve tried to be a little more detailed with my reviews, and focus on discs that are more-or-less current; some of these discs are streeting today and others have hit the shelves in the past few weeks. In fact, several of these titles have been eagerly awaited by cult film fans since the advent of the DVD format. We also have some good news about MGM’s revived “Midnite Movie” line, and a preview of some of the titles that will be hitting stores this fall for Halloween.

Let’s get started, shall we?

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“It is going to get wet in here tonight. Lace your boots up, kiddies…”

I recently watched the Starz Media DVD of BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006). This unique take on the slasher subgenre had been garnering a lot of positive reviews in recent months, and although I haven’t really been in a horror movie mood of late, I was curious.

I persuaded my wife ““ who grew up on 80’s slasher franchises like FRIDAY THE 13TH and NIGHTMARE ON ELM STREET ““ to join me, and we gave the disc a spin.

The premise and plot of the film is that a small group of college journalists are offered the opportunity to accompany and interview an 80’s-styled psycho killer as he goes about his preparations for a full-blooded killing spree. From selecting the right female victim to terrorize ““ a virgin, of course ““ to planting the seeds of an appropriately spooky “legend,” to setting the scene for the final slaughter, the “mockumentary” portion of the film is both amusing and occasionally chilling, with plenty of dark humor and thought-provoking insights into the conventions of the genre.

Now, if that was the entire film, it would probably be fine and fun, but in the final reels, BEHIND THE MASK metamorphoses into a genuine slasher film, complete with last minute twists and ““ despite the fact that the whole formula has just been deconstructed in front of you ““ a suspenseful and frightening edge-of-your-seat climax.

Virtually everything about this film works. Lead Nathan Baesel is excellent, sliding startlingly from charming and amusing to terrifying with no apparent effort. Freddy Krueger himself, Robert Englund, is well cast in his small role, as is POLTERGEIST’s Zelda Rubinstein, who delivers a long expository speech in one perfect take. Especially good is veteran character actor Scott Wilson, from 1967’s IN COLD BLOOD, as Leslie’s “mentor” and confidante.

The screenplay by Scott Glosserman and David J. Stieve shows not only a deep understanding for the genre, but a genuine affection for it as well. Glosserman’s direction is brisk and breezy during the mockumentary sequences yet taut, atmospheric and chilling once things get bloody. It’s great stuff.

Starz Media gives BEHIND THE MASK a sterling, 1.85:1 anamorphic widescreen presentation, with Dolby Digital 5.1 and Dolby Stereo audio. There’s a fun and informative commentary by the main cast members, two “making of” featurettes, deleted and extended scenes, and some nicely edited trailers. As usual, Starz has included the screenplay as a DVD-ROM downloadable bonus.

For fans of the slasher film subgenre, BEHIND THE MASK: THE RISE OF LESLIE VERNON is strongly and enthusiastically recommended. In fact, I’d go so far as to say that it’s one of the best horror films I’ve seen in the last two years.

Check it out.

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“Sergeant Butterman, the little hand says it’s time to rock and roll! “

What I really dug about Simon Pegg and Edgar Wright’s SHAUN OF THE DEAD was how they were able to so effectively parody and satirize a genre while never being mean-spirited or cynical about it. Their affection for George Romero’s “Living Dead” films was palpable and refreshing. I was also impressed at how well they could parody a particular genre of film while simultaneously making a perfect example of that genre.

Well, they’ve done it again, and this time they’ve set their sights on the overblown cops n’ robbers genre, with the delightful HOT FUZZ (2007).

Simon Pegg (“Shaun” of SHAUN) is Nicholas Angel, a London supercop, with the most impressive arrest record on the force. He lives, breathes, eats and sleeps his job and while that’s hell on his love life, it’s also making the rest of the department look bad. So he’s reassigned to the seemingly crime-free village of Sandford, where he’s befriended by fellow officer Danny Butterman (Nick Frost, “Ed” from SHAUN), who sees in Nick all of the Hollywood cops he idolizes. Soon Nick begins to suspect that the small town’s many fatal accidents are less accidental than they seem, and begins to investigate despite the derision of his colleagues. What is Sandford’s dark and deadly secret?

HOTT FUZZ is a great comedy and a pretty damned decent cop flick, too. The cast is filled with talented and familiar British stars, including Jim Broadbent (MOULIN ROUGE), Paul Freeman (RAIDERS OF THE LOST ARK), Bill Nighy (UNDERWORLD: EVOLUTION), and former Bond, Timothy Dalton (in a particularly devilish role). The script is sharp, smart and funny, and even when the plot gets ludicrous, it’s still completely logical within the framework of the story being told. There’s some high-octane action in the last act, as well as some surprisingly gruesome gore effects. But mostly, it’s just a hell of a lot of fun.

Universal’s DVD gives HOT FUZZ a first-class treatment, beginning with a reference-quality 2.35:1 anamorphic widescreen transfer that is absolutely flawless. The Dolby Digital 5.1 EX audio is vibrant and appropriately explosive.

There’s not a whole lot of extras, but what there are, are swell. There’re outtakes, deleted scenes, a trivia game, a commentary with Pegg and director Wright, as well as a few cute bits like “Danny’s Notebook,” “Hot Funk,” and “The Man Who Would Be Fuzz.” Intrigued? Check out the disc.

HOT FUZZ is one of the best comedies I’ve seen in along time. Buy it, rent it”¦ just see it.

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“You can’t escape/From the kiss and rape of the Glove”¦”

Two Seventies revenge thrillers share the bill in Dark Sky Films’ most recent DRIVE-IN DOUBLE FEATURE: SEARCH AND DESTROY / THE GLOVE (1979).

In SEARCH AND DESTROY, ten years after a jungle combat mission goes sour, a group of Vietnam veterans including Perry King (CLASS OF 1984) and Don Stroud (HELL’S ANGELS UNCHAINED), find themselves being hunted down and executed by the understandably disgruntled ARVN officer they left behind.

Shot in and around Niagara Falls, with George Kennedy (THE NAKED GUN) playing yet another cop, SEARCH & DESTROY is a moderately entertaining low-budget actioner, with some decent chase and fight sequences, ably directed by William Fruet (DEATH WEEKEND, SPASMS).

In THE GLOVE, former football star Rosey Grier (THE THING WITH TWO HEADS) plays an ex-con who dresses up in black riot gear, dons a lethal lead and steel glove, and sets out to brutally beat the hell out of a bunch of prison guards. Exploitation vet John Saxon (A NIGHTMARE ON ELM STREET) plays the down-on-his-luck bounty hunter who is out to bring him in.

Not as exploitative as it’s sold, devoting most of its screen time to dialogue and character development over the expected violence, THE GLOVE is nonetheless a fairly decent little flick. Saxon is particularly good here, giving his L.A. bounty hunter a lot of depth and providing a noir-esque voice-over narration. Grier is physically intimidating and, despite his limited thespian skills, still manages to make his killer sympathetic and his motives understandable. The cast includes a bunch of familiar B-movie faces, including Aldo Ray, Joanna Cassidy, Keenan Wynn and Joan Blondell, all competently put through their paces by director Ross Hagen, who has acted in more than a few B-movies himself. It also has a funky theme song that must be heard to be believed.

Dark Sky’s double-layer DVD presents both films in remarkably clean 1.85:1 anamorphic widescreen transfers, and Dolby 2.0 Stereo sound. The disc is set up to play both features with vintage drive-in intermission programming (doesn’t that concession food look gross? Who looked at those ads and thought, “Yeah, I could go for that?”) and some awesome exploitation trailers from the proper era (THE TEXAS CHAINSAW MASSACRE, EATEN ALIVE, THE LAST HUNTER, THE DEVIL’S RAIN and ONE-ARMED EXECUTIONER). While the default drive-in program is the preferred way to enjoy this fun double bill, both films can also be played individually, if you’re so inclined.

Overall, it’s a great evening’s worth of Carter-era drive-in thrills, nicely assembled by the folks over at Dark Sky. I preferred THE GLOVE to SEARCH AND DESTROY, but then, I’m a John Saxon fan (isn’t everyone?). Check it out.

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“Guess who?”

I was never a big fan of the red-plumed, cackling cartoon bird created by Walter Lantz, but I even I have to admit that the new WOODY WOODPECKER & FRIENDS CLASSIC CARTOON COLLECTION is an amazing anthology of theatrical animated films, many of which have never appeared on home video before in any format.

The collection includes digitally remastered toons from the Thirties, Forties and Fifties, as well as a handful of rare, vintage shorts and featurettes. The cartoons are uncut, complete with politically incorrect gags and artwork. Universal has even labeled the packaging (albeit in small print) as for adult collectors ““ nothing here has been sanitized for the protection of today’s small minds (and I don’t mean kids).

Aside from superstar Woody ““ who undergoes an amazing series of dramatic physical transformations over the years ““ Andy Panda and penguin Chilly Willy (a personal favorite) are well represented, along with some very early Oswald the Lucky Rabbit shorts. Among the earliest cartoons in the collection is a great parody of KING KONG, “King Klunk,” as well as a bunch of musical “Swing Symphonies,” like “Abou Ben Boogie,” “The Pied Piper of Basin Street,” and the politically incorrect “Boogie Woogie Bugle Boy of Company B.”

The cartoons are presented full-frame, with eye-popping colors and rock solid transfers. There’s a fair amount of wear and scattered dirt and debris, but it’s not overly distracting; generally speaking, the clean-up and restoration efforts are outstanding. A lot of work went into this set, and it ranks right up there with Warner Brothers’ exemplary LOONEY TUNES GOLDEN COLLECTIONS.

Most of the bonus features are, unfortunately, previously-existing promotional material, and somewhat dated, although the single episode from the later Woody Woodpecker TV series, a Halloween special called “Spook-A-Nanny,” is really bizarre. I might wish there had been at least one new historical featurette or maybe some commentary tracks by contemporary animation experts, but it’s a minor complaint.

For fans of classic, hand-drawn theatrical animation, the WOODY WOODPECKER AND FRIENDS CLASSIC CARTOON COLLECTION is highly recommended.

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“Wolfman’s got nards!”

After two decades of grotesquely panned and scanned, grainy VHS dupes and late night/early morning pay cable airings, Fred Dekker’s heartfelt valentine to the Universal monster films of Hollywood’s Golden Age, THE MONSTER SQUAD (1987), finally makes its way to the digital format with a beautiful, 2-disc 20th Anniversary Edition from Lions Gate.

Best described as “The Little Rascals (or The Goonies) meet The Universal Monsters,” THE MONSTER SQUAD tells of a group of 80’s kids who must save the world when Count Dracula, The Frankenstein Monster, a werewolf, a mummy and the Creature from the Black Lagoon’s clone show up in their small Southern bayou town in search of a magic amulet. The amulet is the key to keeping Good & Evil in cosmic balance, and Drac wants to tip the scales.

A charming, somewhat Spielbergian family film, SQUAD features a top-notch cast of talented young and veteran actors, fantastic monster make-ups by Stan Winston (PREDATOR) and his crew, a superior musical score by the underrated Bruce Broughton (SILVERADO), and a funny, yet suspenseful script by director Dekker and a young Shane Black (LETHAL WEAPON, LAST BOY SCOUT), filled with quotable dialogue and memorable moments.

For fans of classic horror, the movie is a treasure trove of references and homage ““ armadillos inexplicably haunt Dracula’s castle, just as they did in the 1931 Tod Browning DRACULA, the Monster first encounters little Phoebe (Ashley Bank) at the side of a pond, evoking strong memories of Boris Karloff and his doomed playmate in the original FRANKENSTEIN ““ but more than that, the film treats the classic creatures with respect and allows them to be scary. Most notable, perhaps, is Duncan Regehr’s Dracula, who combines Christopher Lee’s imperiousness with Lugosi’s reptilian menace, in a portrayal that ranks among the undead Count’s finest.

Lions Gate new 20th Anniversary Edition DVD is a 2-disc package. Disc 1 contains a gorgeous, 2.35:1 anamorphic widescreen transfer from pristine source material, and a new, 5.1 Dolby Surround mix. This disc also includes two commentary tracks. On the first, Dekker sits with cast members Andre Gower (“Sean”), Ryan Lambert (“Rudy”) and Ashley Bank (“Phoebe”) for an anecdote-filled trip down memory lane. On the second, Director of Photography Bradford May joins Dekker for a more technically informative audio commentary.

The second disc is dominated by “Monster Squad Forever,” a five-part documentary that recounts the making of the film and its slow rise to cult status, with extensive interviews with crew and cast. A lot is covered here, including the studio’s concerns over the kids’ occasional use of expletives, the difficulty in marketing the film back in ’87, and the disappointing downward arc of writer/director Fred Dekker’s filmmaking career. It’s a great, nostalgic documentary, filled with fascinating stories. Disc 2 also includes a few deleted scenes, the original theatrical trailer and TV Spots, a still gallery, and a “Conversation with Frankenstein” ““ an amusing interview with actor Tom Noonan in the Frankenstein Monster make-up, conducted during the original filming. It’s cute, but runs a little too long.

I’ve been a dedicated fan of this flick for years, and I’m grateful to Lions Gate for finally bringing it to DVD in a well-produced, thoughtful special edition. They’ve really treated the film well, and I cannot recommend this set ““ and this movie ““ more highly.

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“Flash, Flash, I love you, but we only have fourteen hours to save the Earth!”

I make no apologies or excuses for this: Mike Hodge’s FLASH GORDON ““ SAVIOUR OF THE UNIVERSE EDITION (1980) is one of my all-time favorite movies. Based on the classic newspaper strip by Alex Raymond, the film is a gleefully silly, joyously tongue-in-cheek interplanetary fantasy that never fails to bring a dopey grin to my face. And now, finally, there’s a home video edition that does the movie justice.

When an unknown force from space threatens the Earth, a pro football quarterback named Flash Gordon (Sam J. Jones. ONE MAN FORCE, THE HIGHWAYMAN) and a pretty travel agent by the name of Dale Arden (Melody Anderson, FIREWALKER), find themselves kidnapped by slightly mad ex-NASA scientist Hans Zarkov (Topol, FOR YOUR EYES ONLY), and taken to the alien world of Mongo. There they meet merciless dictator Ming (Max Von Sydow, NEEDFULL THINGS), who rules the fantastic world with an iron fist, keeping its various kingdoms constantly warring and thus unable to unite against him. Faced with Earth’s imminent destruction, Flash must find a way to bring the tyrant’s enemies together in rebellion and save his home world.

The film story follows the original strip continuity fairly closely, although screenwriter Lorenzo Semple Jr. (1976 KING KONG) obviously can’t take the material very seriously. But that’s all right, because this is one film where a tongue-in-cheek approach actually works. Under the guiding hand of versatile British director Mike Hodges (the original GET CARTER, CROUPIER), the colorful, fetishistic fantasy embraces its campy nature and plays out with infectious good humor.

For FLASH, the producers assembled a prestigious supporting cast of Brit and Euro thespians that includes a pre-Bond Timothy Dalton, Brian Blessed, Peter Wyngarde, Richard O’Brien, and the gorgeous Ornella Muti, but it’s really Danilo Donati’s set designs and costumes that are the stars of the picture. Blindingly colorful, overly elaborate and utterly decadent, the movie looks exactly like an Alex Raymond or Al Williamson Flash Gordon comic strip come to life. Even the odd choice to get rock gods QUEEN to provide the film’s score works surprisingly well, with their pounding beat giving the film its pulse, electric guitars underlying the excitement of the movie’s various chases and battles.

I saw this film in the theater several times and owned it on VHS, laserdisc, and the previously-issued Image DVD, and this 27-year-old production has never, ever looked as good as it does here, on Universal’s new “Saviour of the Universe Edition.” The studio has given this release an incredibly sharp, perfectly color calibrated, 2.35:1 anamorphic widescreen transfer, newly remastered and restored. The film’s colors have never been so vibrant. Special effects scenes have been cleaned up, removing virtually all of the era’s telltale matte lines and compositing artifacts. Detail is astounding: I’ve seen this movie dozens of times, and yet, there were a number of background elements, objects and sight gags that I had never before noticed until watching this new transfer. The audio has been pumped up, too, with a new Dolby Digital 5.1 mix that finally does justice to QUEEN’s triumphant score and the flick’s innovative sound design.

The extra features are a bit disappointing. One would have hoped for a nice, comprehensive retrospective documentary with cast & crew interviews and behind-the-scenes anecdotes, but the closest we get to that is a brief interview with screenwriter Semple, who admits that he never really read the comic strip before writing the script, and thought the whole enterprise was a lark. Fortunately, this is counterbalanced by an interview with acclaimed comics artist Alex Ross (Marvels, Kingdom Come, etc.), who is, quite possibly, the world’s biggest FLASH GORDON fan. He speaks with adult eloquence and adolescent enthusiasm about the film, its impact on him and his art, and the pure joy he derives from it. Ross also provides the new cover art for this edition, and a collectible art card by Ross is included in the package. The disc also includes the original theatrical trailer, the first complete chapter of the 1936 FLASH movie serial with Buster Crabbe, and an amazingly lame promo for the new SciFi Channel FLASH television series.

Aside from the (only slightly) underwhelming extras, this is the definitive DVD edition of the beloved cult classic. Highly recommended.

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“I don’t know anything about saints, but I have an uncanny instinct for sniffing out a son of a bitch.”

Pretty much every thing you’re gonna read about the new adult animated film RENAISSANCE (2007) is going to name-check SIN CITY and BLADE RUNNER”¦ so I figured I ought to get it out of the way as early in this review as possible.

Paris, 2054: A young female researcher for the powerful Avalon Corporation has been abducted and maverick cop Karas (voice by Daniel Craig) is assigned to the case. With the help of the missing woman’s sister, Karas finds himself embroiled in a conspiracy and targeted by Avalon’s high-tech stealth assassins. In the end, Karas unravels the mystery and discovers the earthshaking secret at its core.

A visually stunning combination of hand-drawn/created elements, CGI and motion-capture technologies, Christian Volckman’s RENAISSANCE is a unique, computer animated movie for grown-ups, one that successfully attempts to mimic the harsh, high-contrast B&W imagery of the Sin City comics or the early Brian Bendis written-and-drawn graphic novels Jinx and A.KA. Goldfish. Backgrounds are gorgeously executed with endless little details, and the characters are generally distinctive and fairly easy to tell apart.

In terms of story, it’s yet another sci-fi noir with an overcomplicated plot and plenty of “˜40’s crime fiction tropes and iconic tough-guy characters transplanted into a dystopian futurescape, where the only real difference between it and a vintage detective film is a sci-fi MacGuffin. That’s not to say it isn’t involving or interesting ““ because it is ““ but it’s funny how filmmakers keep looking back narratively, while the technology to make the films keeps accelerating forward.

Miramax’s DVD sports a solid 2.35:1 anamorphic transfer and a Dolby Digital 5.1 soundtrack. Bonus features are lean ““ there’s a single “Making Of” featurette and a handful of other Miramax trailers, and that’s it.

While the story is literally nothing new, the visuals are innovative and unique. If you like BLADE RUNNER and similar films, you’ll probably enjoy this one, too. I thought it was pretty good, and would definitely recommend at least a rental.

DVD LATE SHOW CAPSULE REVIEWS!

In my continuing efforts to catch up with some of the older discs of interest that piled up during the last few months while I was ill, here’s some more “Capsule Reviews” of DVDs that are long overdue for some Late Show attention:

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SUBURBAN SECRETS (2006). Seventies sexploitation director Joe Sarno (INGA, LAURA’S TOYS, MOONLIGHTING WIVES) teams up with the Seduction Cinema starlets to craft a modern version of one of his acclaimed erotic soap operas ““ which means lots of sweaty softcore sex, stilted line delivery and an actual, if sordid plot. Chelsea Mundae (SIN SISTERS), AJ Khan (SHOCK-O-RAMA) and other familiar bodies from the studio’s stable are joined by hardcore star Tina Tyler in this Michael Raso production. The sex scenes are pretty hot, if repetitive, and the performances are incredibly uneven, but there’s a lot worse out there. The 2-disc set from Pop Cinema includes a “Director’s Cut” and a “Hot TV Cut,” a couple of “Making Of” documentaries, a collection of Sarno trailers, and a booklet with liner notes by film historian Ed Grant.

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KING KUNG FU (1976). An utterly unfunny but endearingly awful comedy made in Wichita, Kansas and starring a guy in a bad gorilla suit, KING KUNG FU chronicles the misadventures of a talking simian martial artist and the John Wayne-impersonating police captain who’s out to get him. This Image/Retromedia DVD presents the rare, regionally produced low budget spoof in a 2.35:1 anamorphic widescreen transfer and includes the original theatrical trailer.

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BLIND WOMAN’S CURSE (1970). A disturbing blend of historical Yakuza drama and graphic horror, this chiller features 70’s Japanese cult actress Meiko Kaji (LADY SNOWBLOOD, FEMALE CONVICT SCORPION) in her first starring role. Filled with macabre imagery, savage action and grotesque horror, Teru Ishi’s filmic head-trip is not for the faint-hearted. Diskotek’s special edition includes a good 2.35:1 anamorphic widescreen transfer, audio commentary by Japanese film expert Chris D., a theatrical trailer and photo gallery. Challenging stuff, and worth a look.

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DARKMAN TRILOGY (1990/1994/1995). Universal has just repackaged Sam Raimi’s (EVIL DEAD) pre-SPIDER-MAN superhero effort with its two direct-to-video sequels in one, handy, low-priced, 2-disc “Franchise Collection.” The first film stars Liam Neeson (KRULL) as a hideously scarred scientist who can create temporary new faces with which to fight crime, while Arnold Vosloo (THE MUMMY) takes over the role in sequels. As to those sequels, they’re not so hot; shot in Canada on tight, TV budgets, but then, the original feature wasn’t the greatest, either. Supporting actors include Larry Drake (DR. GIGGLES), Renee O’Connor (XENA), Kim Delaney (PROJECT: METALBEAST), Roxanne Dawson (ST: VOYAGER) and Jeff Fahey (SCORPIUS GIGANTUS)

The first disc contains DARKMAN and DARKMAN II: THE RETURN OF DURANT, and includes trailers for both films. The second disc contains only DARKMAN III: DIE DARKMAN DIE, and doesn’t even have a menu screen. All three films are presented in 1.85: anamorphic widescreen and look fine. For fans of the series, it’s an inexpensive, convenient package.

DVD LATE SHOW NEWS!

One or two of you may remember back in the early days of this column, when I championed MGM’s “Midnite Movie” line of cult and exploitation titles. Well, after a several year drought will the management of the MGM library shifted between several companies, a new batch of “Midnite Movies” titles have been announced by MGM and their new distributor, Fox Home Entertainment. In fact, the forthcoming “Midnite Movie” discs will include titles from both studios, and will be hitting shelves beginning in September.

Among the titles announced: THE WITCHFINDER GENERAL, FOOD OF THE GODS, RETURN OF DRACULA/THE VAMPIRE, THE BEAST WITH A MILLION EYES/PHANTOM FROM 10,000, PHARAOH’S CURSE/CURSE OF THE FACELESS MAN, THE BEAST WITHIN/THE BAT PEOPLE, KONGA/YONGARY, MONSTER FROM THE DEEP, TALES FROM THE CRYPT (1972)/VAULT OF HORROR (1973), CHOSEN SURVIVORS/THE EARTH DIES SCREAMING, DEVILS OF DARKNESS/WITCHCRAFT, BLUEPRINT FOR MURDER/MAN IN THE ATTIC, GORILLA AT LARGE/MYSTERY AT MONSTER ISLAND, THE HOUSE ON SKULL MOUNTAIN/THE MEPHISTO WALTZ.

In addition, there will be a new VINCENT PRICE COLLECTION (THE ABOMINABLE DR. PHIBES, DR. PHIBES RISES AGAIN, TALES OF TERROR, TWICE-TOLD TALES, THEATER OF BLOOD, MADHOUSE and WITCHFINDER GENERAL) a new ROGER CORMAN COLLECTION (BLOODY MAMA, THE YOUNG RACERS, A BUCKET OF BLOOD, GAS-S-S, THE TRIP, THE PREMATURE BURIAL, X: THE MAN WITH X-RAY EYES and THE WILD ANGELS.), a three-disc special edition of THE FLY, RETURN OF THE FLY and (the never before on video) CURSE OF THE FLY, a new special edition of RETURN OF THE LIVING DEAD and a lot more.

Hopefully, I’ll get the opportunity to review much of this Halloween bounty here at the Late Show. For more information on these titles and scans of the cover art, check out George Reis’ DVD Drive-In website.

Thanks for spending some time with me today. Look for my next column soon.

For older Late Show columns (adding up to well over 200 reviews!), visit the newly updated-and-revamped DVD Late Show website and archive. For additional pop culture musings, occasional DVD previews and lots of shameless self-promotion, you might try checking out my blog.

Comments, DVD questions, review requests and offers of money can be sent to: dvdlateshow@atomicpulp.com

 

Party Favors: The Epic of Vegas

Filed under: Columns,Joe Corey's Party Favors — UncaScroogeMcD @ 12:05 am

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partyfavors2007-07-31-01.jpgLAS VEGAS – Lady Luck is about to bitch slap Sin City.

I’ve come out to this town eager to party down at Lindsay Lohan’s 21st birthday party. During our time in rehab, I had promised Firecrotch that her first legal drink was going to be a fuzzy nipple poured across my fuzzy nipples. For those wondering; yes, I did have a relapse on my Sudoku addiction. Damn those numbers and boxes. While I won’t go into details because I don’t want the tabloids to exploit this story, Lindsay saved my life. All I wanted to do to repay the strength she gave me with my struggles with addiction with a few top shelf mixed drinks to welcome her into the world of adulthood.

I arrived in Las Vegas and scooted down to Pure at Caesars Palace to secure my VIP booth. I had IV bags filled with Red Bull to insure that I wouldn’t miss a minute of fun. TMZ was going to be my playground. I sat in the booth for three days. I understand that Lindsay is late because she’s a busy girl. And I know that soon I’d be the reason she’d be late for the set. But then I was informed that there would be no birthday wildness for Lindsay and her friends. I was also told that I had to pay my own tab. They charged me $30 for gummi worms! How could she do this to me? We were supposedly Best Friends Till Step Five! What about the ecstasy, Lindsay?

And so I was stuck in Sin City suffering from Firecrotch withdrawal. Walking the Las Vegas Strip, it became apparent that what stays in Vegas isn’t always the debauchery. Mostly it’s your cash.

TROP-A-PAINA

Augie once declared that Vegas hotels didn’t need spa services since every employee knew how to give you a massage. In the past this town knew how to rub you just the right way so that you didn’t think about all the cash that floated from your wallet. A tourist smiled as they slid a tip to a casino employee. And they knew how to tip you back with sweet comps. Everybody wins – although odds were you weren’t winning cash.

You didn’t care about how much money you blew in Las Vegas. But now every dollar you burn comes with a receipt. Before you have a chance to pour your dollars into a slot machine, the hotel is nickel and diming your ass. A perfect example of this is the Tropicana hotel. We booked the place because it seemed like it was semi-Old School Vegas. After I locked down a great rate thanks to the roaming gnome, I discovered that the package deal didn’t include the “Resort Fee.” The hotel is tacking on a surcharge of $5 a day for their services we could never find in the complex. They charged me for using the pool when we checked in at midnight. They stuck us in a smoking room. Under old school Vegas rules, the desk clerk would have perked us to make up for stinking us in a room reeking of Viceroys and Kools. Even when we got a non-smoking room the second day, they didn’t even send a bellhop up to transfer our luggage. We might as well stayed at a Budget Inn.

The moron who decided to slap the Resort Fee on the bill didn’t understand that it pissed me off so much that I decided to take my main gambling action down the road. It’s not like they weren’t going to get that $20 from me after I stumbled across the That Girl slot machine near the elevator. But I played it at different casino (it might have been the Hooters casino behind us). I didn’t play it too long since t wasn’t paying off. I don’t want to feel angry at Marlo Thomas for taking my cash. Plus there wasn’t any winning panels featuring the Impeccable Hair of Ted Bessell. Marlo will be getting $20 from me in August, 7 when That Girl: Season Three comes out from Shout! Factory.

How was the Resort action for my $5 a day? Blah. The pool had too many leaves floating in it. Nobody seemed too eager to clear the floating futz. And the towel they gave me felt like it was stolen from a United Nations Refuge Camp.

SKIN OFF

The big thing the Tropicana pushed was Bodies. No matter where you were in the hotel or on the strip, you weren’t far from the image of a Chinese guy whose skin had been ripped off, head cut in half and organs left dangling in space. It was on posters. It was on the marquee. It was on the top of cabs. It was on rolling billboards. It was on my room key-card. It was too much.

Am I wrong in thinking that this is a pretty gross image? How exactly do we have Congressional hearings over Janet Jackson’s barely seen nipple (that was nearly hidden by a strange piece of jewelry), but nobody seems to care about posters of a dissected corpse plastered all over the neighborhood? Am I to believe that if Justin Timberlake had ripped the flesh off Janet’s chest during the Superbowl show, we’d all say, “That’s educational and entertaining!” Is there not a single parent in America willing to demand that the advertising for Bodies needs to be toned down? Or do all parents think their five year old kids need to involuntarily see a skinned and sliced human being as they look out the mini-van windows? Slim Goodbody was gross, but he didn’t quite look like the Incredible Melting Man.

I’m not going to get into the politics of where these bodies are coming from. Although it is strange they said that exhibits supposedly agreed to be used this way. Who donates their body to Showbiz? Joan Rivers doesn’t count. What’s strange is that after the Chinese government decided to tighten up and slow down adoption of their babies by American couples, they’re renting us their corpses. Is this a cradle to the grave policy shift?

There were a lot of Asian guests at the Tropicana. I wonder if they felt uncomfortable knowing their neighbors were on display in the main exhibit room. Did any of them recognize the guy on the keycard? Did any of them fear that if they protested the resort fee, they’d end up playing Poker with their innards on the outside?

VEGAS TIPS

Don’t rent a car if you fly into Vegas. You don’t need to be clogging up the Las Vegas Strip.

The town is filled with cabs. Put them to use. Why not risk a chance to be on HBO?

The roaming gnome told us to take the Grey Line from the airport to the hotel. It was $5 per person. We didn’t wait too long to load up and head out. But the ride back turned into a nightmare. They were supposed to pick us up 2 1/2 hours before the flight. No need to cut it too close knowing how fast those security lines grow and how slow the scanner cops work. Do they get paid by the hour or the bag? They have to be careful cause they can’t allow too much breast milk near the planes.

We stood outside the hotel a half an hour before the designated time to make sure we didn’t get missed. They missed us. Or just didn’t give a crap in the city built on craps. What was more frustrating than waiting in 112 degree heat was calling up the Grey Line’s phone number to find out where the hell they were since we were sweating in the hellish afternoon. I never got off their hold system. I was dumped off it on several occasions and had to call back. I burned through 50 cellphone minutes getting no response. Even though we pre-paid for the return voyage, I had to hail a cab. Once again, another Vegas company that doesn’t strike me as willing to give me a massage or pick up the phone.

Although while waiting in the heat, we got to watch a Jerry Springer level meltdown between a couple in front of the hotel. This woman went nuts on her baby’s daddy. And the guy was trying to keep his woman in check while constantly having to worry about his half off pants falling all the way down as he chased and pleaded with her. When are urban posers going to realize that nobody wants to see the top half of your boxer shorts? It’s not fashion. The only reason we watch you is because we sense that your pants will drop, you’ll trip, hit the ground and “impersonate” Phil Leotardo. We’re rooting for your demise, speedbump. Buy a belt.

For getting around during the day, The Deuce is cheaper than a cab. These are the numerous double decker buses that roam the Strip and run down to Freemont Street. If you sit up top and look down, you’ll be treated to more thrills than the roller coaster on the Stratosphere. I can’t even count the number of near misses that took place during one short trip. These buses cut through the traffic like a cow rollerskating through Swan Lake. The best part is that for $5 you can ride around for 24 hours. It’s like you’re gambling with house money when you watch multiple crashes without risking your car insurance.

The only bad Deuce incident we experienced was a late night trip to Freemont Street. We ended up waiting 45 minutes for a departing bus. There was this loud drunk fat guy who kept shouting at people in convertibles. He had to tell his friends about everything they had just done. During the early days of Vegas, mobsters must have killed these dorks in order to make the rest of us enjoy our stay. Do they make double sized holes in the desert? Luckily he grabbed a cab 2 minutes before the bus arrived. Nothing worse than being stuffed against a five day old Dread Snapper in a sardine can.

NETHER VEGAS

Once you go past the Stratosphere on the way to Freemont, you leave the world of mega-casino-hotels and enter a shady zone filled with wedding chapels, tattoo parlors and tiny motels. While staring out the Deuce window looking at these creepy sleepovers, I’m struck with the thought that every night clerk must has a story about Andy Dick calling for room service at 4 a.m. The Party Favors would like to congratulate Jon Lovitz for attacking Andy Dick at the Laugh Factory. A decade ago, I’d talk to Andy often on the phone. He was a great guy to talk to at odd hours. But since then, he’s become a monster. For a creative and funny guy, Andy has pissed it away. Hopefully Lovitz bashing his face will allow him to understand that there is a price to being an asshole. The incident has inspired a new VH1 series: Who Wants to Beat the Crap Out Of Andy Dick? Three people get to plead their case as to why Andy pissed them off. The audience votes and the winner gets to lay a beating on Dick. The runners up get to hold him down.

CRANE GAME

partyfavors2007-07-31-03.jpgHere’s a joke you’ll hear every time you talk to a Vegas local: What’s the state bird of Nevada? The crane!!!

It’s funny cause it’s overwhelmingly true.

You want to get treated like a king in this town, don’t show up with Sean Combs and Britney Spears. You roll into town tugging a crane. Every pit boss on the strip will comp your ass. You’re a high rise roller. They’ll offer you everything under the sun to make sure you don’t take your skyscraping action to Dubai. Here’s a late to the party stock tip: Invest in cranes! They’re all going up! Is that a Wall Street construction joke?

CityCenter’s construction site had at least two dozen cranes of various sizes in play. It was like a Dr. Seuss book illustration with all the around the clock activity. What’s amazing is this latest Kirk Kerkorian mega-resort/casino has a price tag of $7 Billion. For those who thought the Dallas Cowboys were going overboard with their billion dollar stadium, here’s a place where that state of the art dome’s budget is meaningless. A billion will probably be the cost overrun on this project. Crammed inside the 76 acres will be numerous towers containing 7.500 hotel rooms and condos, hundreds of offices and a space shuttle launching pad.

The huge projects on the Las Vegas Strip now flowing onto the other side of the airport. The mega-casinos will flow for miles. Now before you decide to strike it rich land speculating, here’s a warning: Those “For Sale” signs on the empty lots on the Las Vegas strip are lies. All that land is being developed. Nobody is selling their land – especially buy putting up a sign. The land owners rent the sign space to realtors. When you call that number thinking you can become Steve Wynn Jr., they’re going to come up with a “it’s under contract” BS and then try to interest you into desert acreage that’s on the “next big zone.”

The city does need to change its slogan to “Pardon Our Dust.” You couldn’t walk anywhere without encountering a construction zone.

The hotels on the strip are following the McMansion craze that’s sweeping the nation. There’s no real approach space. Most of the casinos are slammed against the sidewalk. The casinos are so slammed together, it almost feels like downtown Manhattan.
The lush entrance of Caesars Palace has been tossed aside as they dump buildings all over what was a magnificent view. There’s no space for future Evel Knievels to leap over the water fountain. The once stunning landmark has lost its splendor with all the faux Roman junk filling the acreage. It’s a nutty neighbor’s lawn that’s been covered with plastic animals and windmills. It looks like one of those places that sell concrete yard statues.

partyfavors2007-07-31-02.jpgCinematographers do an amazing job to create the illusion of space when they shoot in Vegas. It’s hard to line up a shot that doesn’t look busy or show the other five casinos in the row. And its just going to get worse as even more hotels transform on the strip. The New Frontier is about to get demolished to make way for a resort that will look like the Plaza Hotel in New York. What’s the point of that? I’d rather be in Manhattan to experience the real deal. This was the first casino to book Elvis. And soon it’ll be rubble. We dropped by to see the Gilley’s bar that was hosting female mud wrestling. The place looked dead and we didn’t see any hot women lurking near the main bar. We decided to spend the Mud Wrestling ticket price in the Elvis themed slot machines. It only seemed appropriate. It’ll implode soon like so much of this town’s legends.

We were also told Tropicana and Circus Circus will be doing major reconstruction. The Aladdin is still making its transition to the Planet Hollywood Casino. How did that miserable relic of the ’90s dining afford a casino? While you’re waiting for your next blackjack hand, the dealer will attempt to sell you a t-shirt. What’s odd is that the Planet Hollywood restaurant is across the street at Caesar’s Palace. By the way, have you ever heard Caesar sing?

MAGIC MAN

Whenever we passed a parking lot, I’d yell out, “Is Criss Angel performing here, tonight?” The greatest trick Criss Angel has ever performed was making us think that he performs. Mindfreak was shot at the Aladdin/Planet Hollywood casino. But when I asked the guys at the Planet Hollywood ticket office when Criss Angel was going to be on stage, they laughed. Neither had ever seen a real stage show with Angel. What exactly is the point of Criss Angel becoming a magical personality if he’s not doing it every night on the big stage? They said he was now signed to perform at the Luxor. But the big headliner at the Luxor was CarrotTop.

My hotel window looked out at a 40 ft. high picture of CarrotTop in front of the Luxor. A mega-screen on the side of the MGM Grand pimped the prop comic by showing him barechested. After that sight, I was unable to achieve an erection for five days. Images of a half naked CarrotTop and the butchered Chinese guy don’t need to be shown in public.

We did see a lot of posters for Pam Anderson’s semi-act. The star of Stacked is only a magician’s assistant for the guy performing at Planet Hollywood. What does that say about your talent when you can’t even slap together a lame song and dance routine for 45 minutes? Jayne Mansfield did it. She didn’t even have Autotune. The least Pam can do is juggle her old implants. They really fixed her up on the poster so she didn’t look so burned out.

A more visually pleasant view is the side of the Flamingo Hotel covered with a giant picture of Toni Braxton striking a Lola Falana pose. Not sure about the show. They push the $100 tickets with “Toni Braxton takes audiences on a visual and musical journey through her life.” Make sure you eat a good meal before the show cause it sounds like a long trip.

WATER STOP

In case you get a dry throat from all the dirt in the air, don’t drink from your hotel room tap. It was chunky style with a tangy after taste. Luckily the nearby Walgreens Drugs had 2 1/2 gallons of drinkable water that cost as much as small bottle of Dassani in the hotel’s Coke machine.

BAD TELE

If you live in Las Vegas, you don’t need me to explain that your local television sucks. Not that it sucks any worse than most any other city in America. The local channels either had the news, Oprah, judge shows or Jerry Springer marathons. Whatever happened to I Love Lucy reruns? I’m in Vegas – shouldn’t there be a channel showing Vegas? Where’s the Dan Tanna love? While laying low in the hotel room to avoid the heat, we ended up watching the Elmo’s World segment of Sesame Street. There’s a chance that Elmo will end up in rehab next year. He’s showing a little meth-mouth around the gums.

We couldn’t take the constant news. Most of the local reporters were recounting the poor woman who was beaten to death on her Scoot-around. It was like they were promoting an episode of CSI. Something about old women being beaten to death in 113 degree heat that makes me ponder the up side of moving to Las Vegas.

Besides the crappy local TV, the Tropicana had crappy TV sets. The screen was barely 15 inches. I wasn’t expecting a 60 inch HiDef entertainment machine. But why a set that’s smaller than my video camera’s viewfinder?

The cable channel selection barely had ESPN. They had TNT, but no TBS. I was denied Comedy Central. And they didn’t have HBO. Nor Showtime. What hotel doesn’t have a single HBO channel? The creepy Crescent Motel on US 1 has HBO. And they don’t charge an extra $5 a day as a resort fee. Luckily we weren’t staying on a Sunday night. I can’t bare to miss John From Cincinnati. The first episode I miss will be the one that makes sense out of the show. When did Ed Bundy get the power to heal the dead?

The Tropicana didn’t even have any porn channels. What’s the point of being in a Vegas hotel without sanitized hotel porn? Sunny Lane was supposed to have a Spectra-vision debut! Did you know you can watch hotel room porn in Salt Lake City? Sin City gets trumped by Sprite-ville.

And the damn set didn’t have RCA input jacks so I couldn’t patch in my portable DVD player. Although the monitor on my DVD player was nearly as big as the hotel TV. We ended up watching network crap as we recovered from Keno madness.

Why are there two shows about people not knowing the lyrics to pop songs on network TV? Why is there BINGO on ABC? Why exactly are the network suits broadcasting star impersonators? Do I really care if you can dance? Why has network television been reduced to a UHF station booking amateur acts for a telethon? This crap wouldn’t cut it at summer camp. Maybe next week the dorks at NBC can have Competitive Macramé? And why do we have to import English losers to be on the panel? Aren’t we allowed to judge our fellow Americans? Remember folks that the last time a guy in England tried to control our country, we rebelled. It’s time to throw Simon and his Brit clones into Boston Harbor!

INFLIGHT REVIEWS

The nice part about traveling with a portable DVD player is not being held hostage by bad in-flight movies. Perhaps hostage is a bad word when relating to air travel. Hopefully that sentence won’t put me on the Homeland Security Don’t Fly List. But I feel terrorized by Will Smith inflight movies. Crap. I shouldn’t have said terrorized. Remind me to pack lube in my carry on case so the anal probe will feel seductive. How much Analez can you take onto a plane without being anally probed as a terrorist for transporting anal lube?

What was on my DVD player heading out to Vegas? It was a double feature of documentaries. If you were underwhelmed by last year’s Miami Vice,, then you need to pick up Cocaine Cowboys (Magnolia Films). This is the inside skinny on how the Columbians turned Miami from a retirement community into the location of Miami Vice. Jon Pernell Roberts and Mickey Munday give thrilling tales of how they smuggled the cocaine into Florida and dealt with the Columbians. The movie makes it sound like in the early days, the cocaine business worked like Amway. Everybody was getting rich and living the good life. Things go bad on the arrival of Griselda Blanco, the Colombian Godmother. She’s as bloodthirsty as they come. She doesn’t mind having kids killed during hits. She’s the reason Miami became the Murder capital – to the dismay of Detroit, Washington D.C. and Newark. If you have all five seasons of Miami Vice, Blow and three different releases of Scarface on the shelf, then you better get your hands on Cocaine Cowboys. It’s also cool that Jan Hammer did the score for the movie. I was told that they hired Hammer after getting a quote for how much it would cost to license the Miami Vice theme. It was cheaper to hire “Jan the Man.”

The second feature was You’re Gonna Miss Me (Palm Pictures), a documentary about Roky Erickson. You might not know him by name, but you’ve heard his song “You’re Gonna Miss Me” on Dell computer ads. He was the main man behind the 13th Floor Elevators, a Texas psychedelic band that has a cult following amongst those who appreciate Nuggets. Before the guys could make it big, Roky flipped out. The film charts his mental breakdowns and attempts at recovery. It kind of reminds me of The Devil and Daniel Johnston since both men lived in Austin, Texas and hung out with the Butthole Surfers. Here’s a quick tip, if you are attempting to stay sane – do not hang out with the Butthole Surfers. Gibby Haynes is the anti-Oprah. If you are trying to get your head straight – do not let Gibby touch you. He’s like Madonna when she sucked the career out of Britney Spears mouth at the VMAs. The film isn’t told with only vintage footage and talking heads. We get to see Roky’s brother tries to rescue him from their mother. Can Roky flourish in the straight world?

YELLOW CAB FEVER

Leave it me to get HBO’s Taxicab Confessions and Discovery’s Cash Cab mixed up. I’d like to apologize to Ben Bailey for what I was doing with the two Glitter Gultch dancers while he tossed me the questions. The nice thing was that I was able to get a free cab ride back to the Dean Martin suite and pay for my dates using my knowledge of Francis Weber. I do feel bad for Ben having to hose out the backseat behind Circus Circus, but I was the winner. Those off duty clowns were merciless to Ben as they kept squeaking their noses as he scrubbed organic matter off the floorboard. My episode will be airing on the Pay-Per-View special.

PRICE IS WRONG

All along The Party Favors has declared that Todd Newton was lined up to take over The Price Is Right after Bob Barker laid down his skinny microphone. The network and producers have been making Todd’s life hell as each week they float another potential big name host whether it be George Hamilton, Rosie O’Donnell or Drew Carey. Why are we sticking with Todd? Because he hosts a live version of The Price Is Right at Ballys each afternoon. We had plans to drop by and see his live audition. There was only one thing that prevented us playing Plinko. They wanted $50 for a ticket!

What the hell is that about? To see the real show with Bob Barker was free. To see a recreation in Vegas, they’re charging $50. We’re not blaming Todd Newton for this price. We’re still rooting for him to be Mr. Showcase Showdown. But that’s a fierce price for afternoon entertainment. Although I would have paid for the adult version to see Dian Parkinson drop her bikini top while demonstrating the Turtlewax rub.

We ended up spending our afternoon playing the Wheel of Fortune slot machine.

RABBIT TROUBLE

Another thing we skipped was the Playboy Club at the Palms. We drove by the place and saw the giant bunny on the side of the tower. But decided against visiting when it was explained it was about a three hour wait to get into the place. My parents went to one of the real Playboy Clubs back in the ’60s. They didn’t wait in line for three hours to see real Playboy Bunnies with the fuzzy tails. I’m not going to stand for three hours for the hope of going inside a space to wait another two hours for my drink. Do they even have the Rabbit head swizzle sticks? What would “Ace” Rothstein say if he discovered people were standing in line for three hours to get into a club? He’d go nuts knowing that it’s three hours that we’re not gambling.

The Palms is another reason why Vegas is losing its cool for me. Old Vegas was a town that made you feel beautiful. No matter how big of a schlub you were, the doorman made you feel handsome and wanted. They even had greeters to make you feel like you had arrived. But New Vegas wants you to prove that you’re young and beautiful enough to dare visit. It’s like a party at Nicole Richie’s house. The velvet touch has become the velvet rope. Probably what stays in Vegas is your self-esteem. Are you pretty enough to hang out at Rehab or the faux-Studio 54? New Vegas doesn’t want Gene Hackman hanging out at their pool. This is a town that begs for George Clooney and Brad Pitt to crank out Ocean’s 21. Sleek and soulless structures glittering on a cramped street.

Remember a decade ago when Las Vegas wanted to be family friendly destination? Las Disney? Well that didn’t work out too good after the news media focused on roaming children while the parents remained glued to the roulette wheel. New Vegas wants to depict itself as adult playground, but what it really wants is those overgrown imbeciles that earn more cash than sense. What’s the point in begging to be accepted into a society that worships Paris Hilton and the cast of That ’70s Show? Do you want to have to rub elbows with Brandon Davis to get past the velvet rope?

NO MOUSE CASINO

We pondered the weird question: Why doesn’t Disney have a casino? They have the perfect characters to use in various slot machines. Three Poohs pays off the honeypot. They have themes for their hotel rooms. Why won’t the Mouse collect cheese in the desert? Is it because of the children? Nope. It’s because Disney doesn’t like the idea of having to pay off winners. The mouse didn’t get rich by giving it away. Nobody rides the monorail for free!

COST VEGAS

Las Vegas has always been seen as a cheap vacation. Ask anyone what they think of a trip to Vegas. They’ll talk about cheap hotel rooms, cheap buffets and comp show tickets. And what did they do with all the savings? They doubled down! But New Vegas doesn’t want any of that cheap crap. Think you’ll be getting a deal at Wynn, Venetian or Bellagio that rivals Circus Circus? The beautiful people must have all their fat in their wallets.

And the cheap eats are nearly a thing of the past. We went to the Spice buffet in the Planet Hollywood. It’s was $25 a head. They seemed to offer an amazing variety of international food. But every item had something off. The biggest offender was the King Crab legs. They were Viscount size. Plus they were boiled to the point of being shredded rubber. The stuffed grape leaves seemed like they were filled with paste. In order to slow eaters down, they wouldn’t let us refill our drinks. We had to wait for the waitress to perform this vital task. And our waitress was extra busy hiding from us.

Here’s a quick tip if you’re stuck at a buffet that won’t let you refill your drink as you reload your plate: as for a soda and a water. The buffet in the Tropicana also had the no drink refill policy. But they had an amazing omelet chef. He was a cheerful face on a rough morning.

The best buffet we found was Circus Circus. They didn’t try to overwhelm us with international selections. It was hardcore American entrees. They served meat! The offerings on the row would be best described as gambling fuel. Chow down and roll out. The pork and chicken were moist. The veggies crisp enough. And I could refill my soda whenever it was time. Circus Circus is still living up to its Diamonds Are Forever legacy.

THE BEST GAME IN TOWN

While some people go on vacation to play golf or ski or run with the bulls, I have my own favorite sport: Time Share Tours. It’s a true test of my will power against harden pros. In Vegas, I had two chances to get stuck with 1/52nd of a condo. Vegas is the prime city for hardcore time share action. While Orlando has more units, Vegas features the most annoying radio ads in the world. “It’s Las Vegas calling!” Tanya Roberts croaks. She’s the spokeswoman for Tahiti Village. I had to see if I could hold out against her and Alan Thicke. Vegas has been home to many great boxing matches and a Wrestlemania. How would I be able to deal with the heat in the 90 minute presentation?

Here’s three tips if you want to play to win:

1. Never admit you’ve been on a time share tour. Remember that all information you put down on the survey will be used against you when the finance guy arrives at your table. If you admit you’re a vet, you’re going to get pounded twice as hard. They will hit you with that nasty question about how you could be on a “free vacation” if you’d bought the timeshare in the past. Also claim that you work for a small company and rarely get a chance to go on week long vacations.

2. Don’t let your wife talk. This isn’t a macho move. She is considered the weak link by the sale staff. They know that she really controls the checkbook. If she seems curious, they’re going to double their powers to break her and take you down. The same is also true with children. The salesmen will turn into camp counselors to make the kids whine, “Daddy, we want to come here every year!” Your family ties will be wrapped around your neck as they force you into submission.

3. Don’t take too much pity on the salesmen. Most of them are really nice guys, but let’s face the simple fact: You’re only there because you want the promised freebies. You’re there to play the game and not make friends. You’re not looking for real estate.

The first place we hit was on the far side of the Palms. Their big selling point was a series of pics of the company owner hanging out with Arnold Schwarzenegger. Our primary salesman was a young kid that we nicknamed “Bill or Ted.” He was really laid back in his selling style. At one point he let us know that he’d already sold 3 units that day so he was under no pressure to hardball sell us. How laid back was he? At no point did he tell us the actual price of the unit. When the finance guy arrived, he kept talking vague numbers, but no point was there a hard number written on the scrap paper.

We had made the mistake of mentioning we’d visited a timeshare in Orlando. The finance guy went straight for the whole business of how we could have been visiting Las Vegas for “free.” He was all about making us feel guilty for not buying into the life. The key to competitive Time Share presentations is to not lose your cool and shout. You have to break their “No is merely a reluctant yes” salesmen philosophy. You want to see their posture deflate into the “These people aren’t buying” exhale. We had a 20 minute battle that made me draw into the strength that Robert Hegyes displayed on the tug of war finals of the first Battle of the Network Stars. They pulled out the brilliant logic trap of “If it wasn’t about the money, would you buy it?” Of course it’s about the money. This is the sex with a monkey for a million dollars joke. if you answer yes, they’ll spend the next hour trying to find the payment plan that’ll enslave you. You need to answer that you can’t deal with another piece of real estate at that moment. Once you give them a number, you’ve opened up a cut over your eye.

My defense story was that we were in the process of buying a bigger house and didn’t have the cash to invest on vacation property. They gave up on us. And we went off to collect our tickets. Our “winnings” included 2 tickets to V: The Variety Show and Nathan Burton plus 2 buffets at Spice. That’s a good amount of freebies for less than 2 hours of struggle. That’s better than the payout on the Match Game slot machine.

Of course they had the last bit of revenge. They had shuttled us to the time share joint. We wanted nearly 40 minutes in the 105 degree afternoon heat as vans drove past us. Finally we had to grab an off duty driver and beg him to return us to civilization or the World of M&Ms – whichever was closer.

I feared that the Tahiti Village would be my Waterloo. How can I compete against an all star line up that included Butch Patrick and the ghost of Al Lewis on the walls? We had a nice enough of a salesman giving us the tour. Although it was an odd tour since they were selling units for the new phase that was under construction. This was a series of buildings that would house over a 1,000 condos. He told me a lot of info about the town. Tahiti Village is on the side of the Strip that’s going to be under construction soon. Three casinos were going to be springing up in the neighborhood. He pointed out a spot that they were building a multi-billion dollar indoor ski slope like the one in Dubai. Why exactly you need to spend a fortune to build a ski slope since Vegas isn’t that far from skiable mountains? Think of all the energy that will be needed to keep that fresh packed powder snow on the phony slope in 115 degree heat. Al Gore sheds a tear for you, Las Vegas.

The sales guy almost had me thinking that this would be a great investment. But then he showed me the price. A two bedroom unit cost nearly $50,000. On top of that the yearly maintenance fee was $500. Ouch. They needed me to leave a deposit of $8,000 if I wanted to get in on the ground floor. When does the free part of time share vacations kick in? I pretty much didn’t have to make any excuses why that was too rich for my blood. I might be distantly related to the Maloof brothers, but not close enough to know their pin number. What’s even more frightening is a quick crunch of the numbers showed that the apartment had a price tag of $2.5 million if you bought it for the year. While the apartment was nice, it wasn’t $2.5 million nice. For that price, I expect hot and cold running hookers. I want a hot tub in the middle of my revolving bed. I want a bidet! And when you factor that unit price into the phase, Tahiti Village is a $2.5 billion dollar piece of real estate. That’s why Las Vegas can afford to keep calling you on your local sports radio channel.

When the finance guy arrived at our table, he tried to make a weird deal where we’d buy a single unit that we could use every other year. I went into the home upgrade story and he backed off. They didn’t even send the closer over to double team us. We were taken straight to the window to collect our booty. This time the tickets involved 2 tickets for Ice: Direct From Russia , Folies Bergere and the Tropicana’s buffet. After this hit, we were set for three nights of Vegas entertainment and two free meals. Now that’s old school Vegas.

Unlike the first joint, the Tahiti Village didn’t have us waiting long. Guess they needed to remove the odor of resistance from the lobby. It felt good to go 2-0 in my Vegas debut. I don’t want to brag, but those UFC guys don’t battle it out on back to back nights. Time Share Battling is a man’s sport that needs to be run on Spike. But were the shows worth the blood and missing teeth?

SHOWTIME

When we arrived in Vegas, I took at pact to avoid any Cirque du Soleil productions. They just creep me out with the freaky music, the spooky make up and their French Canadian attitude. They’ve taken over nearly major hotel in Vegas with their dangling circus act. Plus none of the Time Share joints offered Cirque tickets as freebies.

Also added to the no go list was Danny Gans. I had never heard of this guy, but his act at the Mirage has sold out for the next two years. Scalped tickets offered by brokers were close to $200. And what does he do? Pull a canned ham out of his mouth? Give you the secret to Keno numbers? Has sex with Britney Spears? Nope. He puts on a pair of glasses and impersonates George Burns. That’s entertainment?

The Producers was playing at Paris, but David Hasselhoff had left the cast. It was hard to tell who was in the show. I was hoping it was Pauly Shore and Chuck Norris. Now that’s worth burning the kids’ college fund. Luckily because of my bounty of freebies, we didn’t have to consult a loan specialist to see Blue Man Group. But were the fresh shows worth the price?

V: The Variety Show is a rough and tumble version of a talent show in what’s being rebranded as the Miracle Mile in the Planet Hollywood. The place still has it’s Middle East motif from when it was part of the Aladdin. V features Two Gauchos act as the MCs for a group of acts that include magic, juggling and balancing. They kept it lively as they had fun with members of the crowd. A few of the acts had appeared on last season of America’s Got Talent. The star of the show is Joe “TV Guy” Trammel. If CarrotTop and Frank Gorshin did so much blow (cut with rocket fuel) that their molecules hypervibrated and they merged, they would have created this act. In a scant few minutes he goes through decades of pop culture with dance moves and props. A day after the show we discovered him on Freemont Street in a jail cell. Turns out that he was spending time behind bars to match Paris Hilton’s hard time. You can actually see highlights of his incarceration on Youtube. We joked about Paris Hilton’s great quote that jail “was like being in a cage.”

The strange part about seeing V was recognizing faces from the Time Share tour. We gave each other that nod that gets captured at the end of disaster flicks between survivors.

We returned the following afternoon to the same theater to check out magician Nathan Burton. He had been a star on America’s Got Talent. I remember his illusion where he flushed a cop down a toilet. He’s a likable enough magician. And his face isn’t as creepy as Lance Burton. He turned each trick into a biographical vignette. It’s a good family magic show that doesn’t cost so much that you have to eBay your youngest.

Ice: Direct From Russia at the Riveria is a new show. They turned the stage into an ice rink including a loop into the audience so the performer can skate out to you. This was the same stage that Dean Martin once roamed. Now it was ready for Gordie Howe’s comeback. The show itself is majestic. A group of over three dozen Russian skaters perform a variety of acts that go between sweet, seductive, comic and thrilling. The opening alone is amazing with 40 people skating on the stage at once without slamming into each other. My favorite routine was a couple skating with kites. You heard it right, not only were they skating in the showroom, but they were flying kites. It was passionate and pure as they always kept moving. Later in the show one woman was hula-hooping on skates. She had so many silver hula-hoops going at once that she looked like a slinky.

We were told by the time share folks that they did two shows including an adult show. Visions of the legendary Showtime special Spice on Ice overwhelmed my senses. Sexy Russian female skaters going topless gets my attention over a bunch of guys covered in blue paint. But since the show had just opened, they only had one family style show each night. But even fully clothed, I got an eyeful of the women in motion. This show was a true reward for sitting through time share assault.

Folies Bergere at the Tropicana is a great Showgirls experience. And they did have the adult show. Strange to see people walk out of the theater when the dancers drop their tops. The upset audience members acted like it was a tribute to Catherine the Great with their sensibilities disturbed. The show featured lots of dance numbers. In the middle of the set, we were treated to a comic who juggled bowling balls. When you visit Las Vegas, at some point you must witness the glory of a statuesque woman with a giant feathered headdress.

All four shows were worth the hassle of resisting the hardcore sales pitch. I don’t recommend the sport of Time Share Pitching to people with weak wills and fat checkbooks.

What was really missing from the trip was the legendary dinner and a show of old Vegas. A ticket seller told me that the dinner and show died with Liberace. Who knew he was the that talented. He performed and cooked for his fans. I only hope that after time in his kitchen, he washed his hands before playing his piano. I also hope that before he cooked, he washed his hands after playing his organ. Please tip your waitress. Enjoy the veal!

ROGER WATER

The video screen outside the MGM Grand pimped the upcoming Roger Waters tour by declaring him, “The Genius Behind Pink Floyd!” Does this mean David Gilmour has to be billed as “The Fraud Who Drafted On the Genius of the Genius Behind Pink Floyd?”

LEAVING LAS VEGAS

We headed over to the Paris casino to get a freebie ride up to the top of their Eiffel Tower. It’s only when you’re 500 feet above the town that can you see beyond the mega-casinos to the small houses sprawling away from the strip. There’s a lot of people eager to live in 114 degree temperatures. Also all of the hotel construction becomes visible in a single glance. How long can it grow at this price?

For the longest time Last Vegas has claimed that it’s recession proof. That people will come no matter what’s going on in the world’s wallet. But all of these projects are costing billions (nobody does anything for a couple million bucks in this town anymore). And the cost of living the good life in Sin City has gone up faster than the jackpot on the Monopoly slot machine. This isn’t the cheap getaway of a decade ago. Everything was cheap in order to lure you to the felt covered tables. Those days seem to be slipping away. You are going to pay and pay for every minute you stay in the city. How long can so many luxury hotels with 3,000 rooms apiece pop up on the strip?

This is probably my last vacation to Vegas. The attitude is stifling. My shoulders felt tense. Instead of feeling like a welcomed guest, the corporate attitude of New Vegas is judgmental. Instead of employees asking me, “Would you like this, Sir?” The company handbook demands a response of “What do you want, now?” If you’re not Lindsay Lohan or a 600 ft. crane, this town has little need for your ass. My next visit to Nevada will be to Reno where I know I can eat a magnificent lobster dinner off Bunny Love at the Bunny Ranch.

FLYING HOME

Kudos to Airtran for installing XM satellite radio in their arm rests. Even though we got screwed twice connecting through Atlanta, being able to listen to the various channels instead of a screaming brat kept me calm. That airport is a mess on a sunny day. We spent 30 minutes on the tarmac waiting for gate to open up so we could race to our connecting flight. And then there was another long wait to get on the runway. But I was able to zone out to these hassles while listening to a baseball game.

The most beautiful moment was on the final leg. As we flew through the night sky, I turned to their ’60s channel. There was the voice of Wolfman Jack introducing the oldies. This was strange since he had died a dozen years ago, but he sounded more alive than any DJ working today. It made perfect sense when he bellowed, “Mercy!” Miles in the sky above the clouds I was listening to the Wolfman howling at the full moon from his heavenly abode. Finally my shoulders relaxed with an aural massage.

Quick Stop Thingamabobs: 7/31/2007

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:01 am

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The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

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  • Learn the secret art of the forehand smash… (Thingamabob)
  • This just makes me want to see Yo Yo Girl Cop all the more… (Thingamabob)

Have a THINGAMABOB? Send it in!

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