Tag: James Cameron

  • Weekend Shopping Guide 11/19/10: The Little Tramp

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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 FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

    (Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)

    While my favorite remains The Great Dictator, there’s no denying that Modern Times (Criterion, Not Rated, Blu-Ray-$29.95 SRP) is one of the great Charlie Chaplin films, and the new Criterion edition manages to significantly improve both the look and sound of the already stellar DVD special edition that was released on DVD quite a few years back. Add to that an audio commentary, visual essays, featurettes, interviews, a pair of cut segments, home movies, featurettes, the Chaplin two-reeler The Rink, trailers, and more. Here’s hoping more Chaplin releases are in the cards.

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    Kids love to spill drinks. I don’t for a minute think it’s an accident – I believe it’s all premeditated. You can undermine their evil plans with the Autoseal Kids Tumblers ($15.99/pair), which has a wonderful push button activation to dispense the beverage, preventing spillage. Brilliant.

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    Hot on the heels of the first season’s arrival comes the second season of The Twilight Zone (Image, Not Rated, Blu-Ray-$99.98 SRP) in glorious high definition. If you were worried that they wouldn’t be able to maintain the incredibly high bar they set with that initial release, worry not – They most definitely have. Not only is all of the bonus materials from the original uber-edition carried over, but a whole clutch of new audio commentaries, interviews, radio dramas, and more have been added. An absolute must-have.

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    Warner Bros. has done another spectacular restoration job on one of their catalogue gems, this time with the high definition edition of 1935’s Mutiny On The Bounty (Warner Bros., Not Rated, Blu-Ray-$34.99 SRP), starring Charles Laughton as the tyrannical (and historically inaccurate) Captain Bligh and Clark Gable as mutineer Fletcher Christian. Bonus materials include a short subject, an Academy Awards newsreel, and theatrical trailers for both this and the 1962 versions. A must-see piece of cinema.

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    As CGI and flash have come to dominate content in documentaries in recent years, there’s still something timeless and powerful in the direct, unvarnished simplicity of presentation in the seminal (and massive) The World At War (History Channel, Not Rated, Blu-Ray-$149.95 SRP). Comprised of 26 hour-long programs with remarkable footage, I daresay it remains the definitive documentary on the Second World War. Bonus materials include a healthy clutch of additional documentaries, featurettes on the making-of and restoration process, and more.

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    Let us all take a holiday journey into the uncanny valley with Robert Zemeckis’s latest unfortunate excursion into motion capture awkwardness, A Christmas Carol (Walt Disney, Rated PG, 3D Blu-Ray-$49.99 SRP). What could have been a faithful, beautiful adaptation if traditionally animated – be it hand drawn or CG – instead becomes a desperate attempt not to catch the dead eyes of a character or an awkward gesture… Which is a shame, because Jim Carrey is working overtime to pull off Scrooge, but keeps getting betrayed by Zemeckis’s lifeless execution. Bonus materials include a clutch of featurettes, and deleted scenes. Your best bet is to get the 4-disc edition, which contains not only the 3D edition of the film (for all of you with fancy TVs and computers), but also the Blu-Ray, standard DVD, and a digital copy.

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    A few years back, a rather unique and wonderful little animated series called Avatar: The Last Airbender debuted on Nickelodeon. It was full of adventure and populated by strong, interesting characters living in an expansive world and caught up in an epic story. Sadly, all of these wonderful elements were lost in translation to the live action The Last Airbender (Paramount, Rated PG, Blu-Ray-$39.99 SRP), helmed by perpetual disappointment M. Night Shyamalan. What we get, instead, is a dull as dishwater affair that plods along with cardboard characters in a heavily condensed and compromised story. Sad, really. Bonus materials include an audio commentary, featurettes, deleted scenes, and outtakes.

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    While you’re busy waiting for the next season to come out on DVD, you can tide yourself over with Spongebob Squarepants: Legends Of Bikini Bottom (Nickelodeon, Not Rated, DVD-$19.99 SRP), a DVD premiere of a special that finds Spongebob and friends in six legends, with bonus features including a behind-the-scenes featurette and animated shorts.

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    Fully remastered, another holiday perennial makes is available this season with the release of Rankin Bass’s Twas The Night Before Christmas (Warner Bros., Not Rated, DVD-$19.98 SRP). That’s the animated one with the mouse, if you’re having trouble remembering.

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    I’m still not exactly sure why the travesty that is Troll 2 has been gifted with a celebratory documentary, Best Worst Movie (Docurama, Not Rated, DVD-$19.95 SRP), but it is an affecting one, as the misguided filmmakers behind the cinematic wreck reflect on their good intentions and come to grips with the fetid result’s growing popularity. Bonus features include deleted scenes, a filmmaker Q&A, fan contributions, and more.

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    The books of Beverly Cleary were a favorite when I was a kid, and while some of the spirit has been toned down, there’s still some life in Ramona And Beezus (Fox, Rated G, Blu-Ray-$39.99 SRP), which finds whirlwind Ramona making life hard for her older sister Beezus, who trying to find her footing in her first year of high school. Bonus materials include featurettes, deleted scenes, a gag reel, and more.

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    It’s not Blu-Ray, but Cher: The Film Collection (MGM/UA, Rated R/PG/PG-13, DVD-$49.98 SRP) is a boxing together of catalogue titles in one themed package. The films in question are Good Times, Chastity, Silkwood, Moonstruck, Mermaids, & Tea With Mussolini. All of the bonus features from the original individual releases carry over.

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    Seeking to make the viewing experience a bit more interactive, Disney has developed the “Mickey Mote” accessory for use with their newest preschool DVD releases. Essentially, it’s a kid-friendly, Mickey Mouse-shaped remote that them to answer questions when in “Discovery Mode”. The first DVDs out of the gate – Mickey Mouse Clubhouse: Numbers Roundup (Walt Disney, Not Rated, DVD-$29.99 SRP) and Handy Manny: Big Construction Job (Walt Disney, Not Rated, DVD-$ SRP) are both Mickey Mote capable, and the former comes packed with one.

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    In March of 2010, musical theater’s best & brightest assembled to celebrate Stephen Sondheim’s 80th birthday, recorded for posterity on Sondheim!: The Birthday Concert (Image, Not Rated, Blu-Ray-$29.98 SRP), featuring 24 of his songs.

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    One of Nipsy Russell’s finest roles (and one of Diana Ross’s most age inappropriate) comes to high definition with the release of The Wiz (Universal, Rated G, Blu-Ray-$26.98 SRP). And I didn’t even craft a cutesy line like “Ease on down to high def!” Bonus materials include a retrospective featurette and the theatrical trailer.

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    It’s an interesting score, to be sure, but I can’t help but feel that composer Alexandre Desplat is just marking time with his score to Harry Potter And The Deathly Hallows: Part 1 (Watertower Music, $17.98 SRP) until John Williams returns to wrap up the franchise in Part 2. Oh wait – John Williams isn’t returning. Ah, well.

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    It’s about time a tribute was put together for one of the landmark comedians of the last 30 years, and Back From Hell: A Tribute To Sam Kinison (Paramount, Not Rated, DVD-$16.99 SRP) is a fitting one, combining classic Kinison clips with interviews from friends and fans. Bonus materials include additional interviews and stand-up, and Kinison’s “Wild Thing” video.

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    How about a whole bunch of TV series wrapping up their DVD releases? You’ve got Beverly Hills: Season 10 (Paramount, Not Rated, DVD-$59.98 SRP), Ghost Whisperer: Season 5 (Paramount, Not Rated, DVD-$62.99 SRP), Seventh Heaven: Season 11 (Paramount, Not Rated, DVD-$49.98 SRP), Tales From The Darkside: Season 3 (Paramount, Not Rated, DVD-$36.98 SRP), War Of The Worlds: Season 2 (Paramount, Not Rated, DVD-$39.98 SRP) and the first volume of The Fugitive: Season 4 (Paramount, Not Rated, DVD-$39.98 SRP). Whew!

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    Let me be perfectly blunt – History Channel… If you continue to produce unsubstantiated dreck like Ancient Aliens (History Channel, Not Rated, Blu-Ray-$39.95 SRP), which gives credence to Erich von Daniken’s crackpot Chariots Of The Gods theories on human development, then you will be stripped of the “History” part of your title. Seriously guys… Get a clue.

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    Now that we’ve reached Gangland: Season 6 (History Channel, Not Rated, Blu-Ray-$44.95 SRP), I think we’ve given more than enough airtime to gang members and their violence, thank you. The 3-disc set contains all 11 episodes, plus additional footage.

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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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  • Party Favors: James Cameron in 3-D!

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    During Earth Day, James Cameron launched both the home video release of Avatar and the Home Tree Initiative. The director planted the first of a million trees at the Fox Studio lot. The Party Favors sent its action Hollywood news squad to the event to record it in the proper format of 3-D HD. For the first time ever, James Cameron is captured by a 3-D camera he doesn’t control! We also have a short chat with producer Jon Landau about doing low budget projects in 3-D. If you want proof that an indie filmmaker can work in 3-D without a massive budget – this is it. If you want the full effect, make sure you wear red and blue 3-D glasses and click on the 740p viewing selection. Be careful when Cameron look straight at the camera.

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  • The No Show: An Interview with James Cameron

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    An exclusive interview with James Cameron, Emperor of Everything on his latest James Cameron Epic Motion Pictureâ„¢: AVATAR

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    Now that the James Cameron Epic Motion Pictureâ„¢ Avatar has taken over as the Greatest James Cameron Epic Motion Pictureâ„¢ Ever Made and James Cameron himself has been crowned Emperor of Everything, it’s only fitting that The No Show track him down and ask him the hard hitting questions that everyone is too scared to ask for fear that he will crush them with his withering stares and his personal army of Terminators (they’re totally real by the way).

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    Now that the James Cameron Epic Motion Pictureâ„¢ Avatar has taken over as the Greatest James Cameron Epic Motion Pictureâ„¢ Ever Made and James Cameron himself has been crowned Emperor of Everything, it’s only fitting that The No Show track him down and ask him the hard hitting questions that everyone is too scared to ask for fear that he will crush them with his withering stares and his personal army of Terminators (they’re totally real by the way).

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    THE NO SHOW: So James – may I call you James?

    The Disembodied Voice of James Cameron, Emperor of Everything: You may refer to me as James Cameron, Emperor of Everything.

    THE NO SHOW: I’m sorry…?

    TDVoJC (EoE): Please refer to me by my given name, James Cameron, Emperor of Everything.

    THE NO SHOW: That’s going to eat into a lot of our interview time.

    TDVoJC (EoE): Don’t worry your pretty little head about it. After all, I’m a Master of Time and Space.

    THE NO SHOW: Master of Time?

    TDVoJC (EoE): And Space, yes. All Canadians are, but they’re too polite to really use the skill. Those that do become incredibly successful for almost no reason whatsoever, of course. Think about it: Jim Carrey, Mike Myers, Alanis Morissette – what have they done to deserve their success?

    THE NO SHOW: That does explain a lot.

    TDVoJC (EoE): Absolutely. Just look at my previous Epic Motion Pictureâ„¢ Titanic – that flew by for millions of viewers around the world, right? And yet it clocked in at an epic 19 hours long. No-one even noticed because I squeezed it into a paltry three hours and 17 minutes.

    THE NO SHOW: It still felt pretty long.

    TDVoJC (EoE): So if we’re running short on time, I’ll bend time and space to make sure you get in all your questions. So long as I approve of the questions. Otherwise, I’ll rewind time and refuse this interview. And then make sure you achieve none of your lifelong ambitions. I will also un-invent the internet if you bug me. Just to make sure.

    In fact, if you do, say or suggest anything of which I do not approve, in addition to killing every pet you have ever owned, I will travel back to your early twenties and sleep with your first serious girlfriend, little… [loud electrical disturbance] Mary McGoogle. My she was a hottie wasn’t she?

    THE NO SHOW: …

    TDVoJC (EoE): [loud electrical disturbance] Oh yes she was. I just went back and did her anyway. Twice. Just to show you I mean business. You should call her up and ask her. She probably wouldn’t take your call though. Once you go Disembodied Master of Space and Time, you never go back, as they say. On the bright side, you’ll find you have now never had crabs. You’re welcome.

    THE NO SHOW: So, your film, Avatar, has been breaking records all over the place –

    TDVoJC (EoE): Do you mean my Epic Motion Pictureâ„¢ Avatar?

    THE NO SHOW: Yes, the film –

    TDVoJC (EoE): – my Epic Motion Pictureâ„¢ –

    THE NO SHOW: – Avatar has done major box office –

    TDVoJC (EoE): My Epic Motion Pictureâ„¢ Avatar is has been are doing precisely the box office I am are making it do. Done. Sorry, tenses get a bit squiffy with time travel.

    THE NO SHOW: Did your plans include being knocked off the top spot in the US by Dear John, by all accounts a soppy romance with virtually no story and no big Hollywood names?

    TDVoJC (EoE): Yes. This was exactly as I made it happen. My Epic Motion Pictureâ„¢ Avatar beat the record box office run established by my previous Epic Motion Pictureâ„¢ Titanic, and my next Epic Motion Pictureâ„¢ will beat my current Epic Motion Pictureâ„¢ and so on and so forth. It’s a long-term strategy.

    THE NO SHOW: And you made this happen…?

    TDVoJC (EoE): Absolutely. I manipulated time and space, went back and forth, checked out the films that were due to be released around this time and chose Dear John, which was the least threatening.

    Then, late at night while everybody was sleeping, I crept into their rooms and whispered, “You will go see Dear John this weekend. You will go see Dear John this weekend. This will not affect your unquestioning devotion to James Cameron’s Epic Motion Pictureâ„¢ Avatar.” Lo and behold, my Epic Motion Pictureâ„¢ Avatar drops to second place. And this way, no-one even noticed that my Epic Motion Pictureâ„¢ Avatar had virtually no story.

    As for the Epic box office performance of my Epic Motion Pictureâ„¢ Avatar, well, what can I say? I’ve always done well with sequels.

    THE NO SHOW: Sequel?

    TDVoJC (EoE): Well, technically my Epic Motion Pictureâ„¢ Avatar is the fourteenth in a series.

    THE NO SHOW: But Avatar –

    TDVoJC (EoE): – my Epic Motion Pictureâ„¢ Avatar –

    THE NO SHOW: Whatever, it wasn’t a sequel.

    TDVoJC (EoE): Of course it was, the first one bombed, don’t you remember? Then I did all those test screenings, made the Na’vi skinny and half-naked, gave the female ones pert little Shakira-like breasts and – oh no, of course you don’t. Silly me, always forgetting these things. Interesting story: in fact, this is the fourteenth release of the film, you just don’t remember them. I kept going back in time, simplifying the story, making it more familiar and comfortable for audiences and adding more partial nudity and explosions and special effects until BAM, I had a multi-million dollar hit on my hands. Simples.

    THE NO SHOW: Is that why the film –

    TDVoJC (EoE): – Epic Motion Pictureâ„¢ –

    THE NO SHOW: – has been described as a mix between Pocahontas, The Dark Crystal and the Smurfs, but for adults?

    TDVoJC (EoE): [loud electrical disturbance] … I’m sorry, what were you saying?

    THE NO SHOW: … Hm, that’s funny, I don’t remember.

    TDVoJC (EoE): That’s fine. You were asking how it feels to have created what many are calling the most Epic cinematic experience since my last Epic Motion Pictureâ„¢ Titanic.

    THE NO SHOW: Was I? I don’t recall…

    TDVoJC (EoE): No problem. It feels great.

    THE NO SHOW: Um OK, thanks for taking the time to speak with us.

    TDVoJC (EoE): My pleasure. And remember: my next Epic Motion Pictureâ„¢, The Little Mermaid, comes out next year. And it will be in 4D, a technology I haven’t even invented yet, but I’m confident I’ll be able to borrow from somewhere in time and claim as my own with a few very minor tweaks.

    THE NO SHOW: The Little Mermaid? You mean like the Disney ““

    TDVoJC (EoE): [loud electrical disturbance] … I’m sorry, what were you saying?

    THE NO SHOW: Um, sorry, I’ve lost my train of thought. In any case, we’ve run out of time, so I’ll just say thanks to the Disembodied Voice of James Cameron, Emperor of Everything, and we look forward to what I’m sure will have been your next biggest Epic Motion Pictureâ„¢ ever.

    TDVoJC (EoE): Now you’re getting it.

    THE NO SHOW: By the way, I loved Citizen Kane.

    TDVoJC (EoE): Thanks. I was particularly proud of that one.

    Brought to you by The No Show

  • Soapbox: So, AVATAR…

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    So, AVATAR

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    depJames Cameron wanted me to let you know that, in addition to being “the king of the world”, he is now also the king of Pandora. That, of course, is the name given to the moon associated with the planet Polyphemus in Mr. King of the Galaxy’s new movie, Avatar. An Avatar is, as I’m sure you know, the binary and digital equivalent of an “AKA”, which itself is just an acronymic way of saying “I can’t stand on my own two feet, so I’ll adopt a more exciting alter-ego”.

    In this rather bizarre and “meta” way, Avatar is indeed a real avatar. Pretending to be its own movie, it is, in fact, a fascinating cross-cut blend of several other films, including Ferngully, Dances with Wolves, Pocahontas, Apocalypto, and maybe a bit of Braveheart. However, since Avatar dresses up its brazen plagiarism with some absolutely stunning and spectacular digital imagery and special effects, we’ll give it a pass and hand it some awards.

    A quick synopsis, then: we Americans are a greedy, unfeeling, insensitive bunch of chunk-heads who have no appreciation whatsoever for other cultures, let alone other planets. We frequently go around with actual dollar signs flashing out of our eye sockets, and we will stop at nothing to make a lot of money very quickly. Thus, the RDA Corporation has set out on a mining expedition to Pandora, where it will blow stuff up, kill innocent life-forms, and generally make a drunken fool of itself in the quest to obtain a valuable mineral called … wait for it … unobtainium. Please, stop laughing, Mr. Cameron can hear you.

    One of the ways the RDA Corporation intends to get this unobtanium (genus: nowaytoprocuremal) is to infiltrate the native Na’vi people using “avatars” – a human-Na’vi hybrid, specially built for the purpose, and operated by human beings using slightly upgraded The Matrix technology. Seriously, you jerks, quit laughing, this is serious art.

    Jake Scully operates the lone avatar that is successful in being accepted by the Na’vi people, and this forms the basis for the movie’s morality tale: once Jake gets to know and love the Na’vi (because you just know he will), will he remain loyal to the humans and help them rape the land, or will he become a traitor to his race by helping the Na’vi preserve their civilization? I’ll bet you really can’t guess, can you?

    I liked the film, in a sort of “3 stars out of 5” way. As promised, the CGI and digital effects show was very good, and the epic battle at the end of the film was as epic-y and battle-ish as anyone could want. My point of contention is that James Cameron carved up an over-used story, threw in some seriously shameless and pedantic political propaganda, and used that as an excuse to put on a digital dog-and-pony show.

    The Na’vi prance around in their skimpy outfits, with their long and braided hair, worshiping the Mother Nature Goddess Life Energy Force and living off the resources of the land – and they have a pretty catchy war-cry, to boot. You can go ahead and mentally supply the eagle-feather warbonnets and tomahawk dancing.

    As the unapologetically mercenary humans prepare to go to war against the Na’vi, their actions are justified as “pre-emptive”, and described as a “shock and awe” campaign. Jake complains that we humans have already killed our Mother (Earth, I think, although he may have been talking about Mother Teresa), and declares that human beings must be taught that we cannot simply take land away from other civilizations in order to get what we want.

    In short, as the climactic battle begins, and the war cry is sounded, the average viewer will be so fired up and emotionally provoked that he may very well leap up out of his theater seat, raise his fists into the air, and scream “DEATH TO THE HUMANS!” Presumably, he will then return to his seat and continue consuming his 885 oz. Pepsi and 50-gallon drum of popcorn, little realizing that he has just sided against his own race in favor of a fictional, digital, alien community.

    I fail to understand why James Cameron chose the American people as the antagonists in this film. After all, he was writing a story line that simply needed to pit humans against aliens, but out of all the cultures and races on Planet Earth from which to choose, he selected Americans. Obviously, Mr. Cameron has not watched enough Bugs Bunny or Connery-era 007 films, or he would have known that the nationalities preferred for representing Evil Incarnate in cinema are Russians or Germans.

    I can only conclude that James Cameron is himself an alien, currently operating a genetically engineered human avatar, sent here to infiltrate our planet and prepare us for the coming alien invasion by filling us with self-loathing.

    Still, he’s doing it with some fantastic special effects, so … who cares? Pass the popcorn.

    Jacob Michael

  • Opinion In A Haystack: Looking At AVATAR

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    LOOKING AT AVATAR

    He did it. James Cameron pulled it off. All of the praise and positive quips you’ve read, heard, and watched are spot on. Avatar is a behemoth spectacle to behold, a mighty game-changing cinematic dinosaur made of fire and fueled by Jolt Cola. The all-encompassing 3D CG environment coupled with the “BEST EVER” motion-captured actors is all numbingly realistic to the point of confusion. Take one of the greatest mainstream directors of all time, let him gestate on a film’s production for over a decade, then stir in a well-used $300 million and you will get Avatar. This is hardly the misfire, dream-project that so many feared. This isn’t James Cameron’s Legend (even though I like Legend.) It has all the markings of a wet-dream-big-director-project gone wrong, yet in the equation Cameron remembered one thing, to make the movie for himself AND the audience.

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    The film is a triumph not because it’s perfect, which it isn’t, but because it’s succeeds as grand entertainment. When is the last time the public received a movie of this caliber, based on original material, with this level of passion behind it? The fact that this is an original script with a production of this magnitude, sadly, gives it a nostalgia factor of 15-20 years ago, regardless of the technology. It is a very welcomed feeling that makes us glad that Mr. Cameron is back, and worried that he will go away, possibly back to the obscurity of making ocean documentaries.

    The film’s plot, blue aliens, and overarching themes have obviously been heavily criticized for the past few months. The horrid advertising for the film should be to blame for this. What marketing department in their right mind thought that advertising a movie as “game-changing” was a good idea? Is “backlash” or “cynicism” not in their vocabulary? What is curious about all the criticism is that they are all more or less true, but not really in a detrimental form. Cameron’s script is simply playing on conventions as old as storytelling itself, which does lend the movie to being rife with cliché, but it’s cliché done well. Let’s take a closer look at the criticisms, from the point of view of someone who’s seen the flick:

    ***************EXTREMELY MILD SPOILERS**************

    Criticism 1: “It’s James Cameron’s Smurfs.”

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    The Na’vi are blue.

    They Live in the woods.

    They are peaceful.

    The villain (Humans) send a “Smurfette” (Sam Worthington) to infiltrate them.

    The “Smurfette” is won over by the love and way of life of the Na’vi (thank you Donnie Darko, and Wikipedia .)
    The “Smurfette” yearns to become one of the Na’vi.

    The male leader of the Na’vi tribe has prominent RED body adornments much like Papa Smurf. (yes, seriously.)

    Conclusion: Yes, it is sort of like James Cameron’s mega-budget-ultra-serious Smurf movie. It should be pointed out that Saturday Night Live called it first, even down to the Celine Dion/Titanic joke. SNL guessed Cameron’s next movie over a decade in advance!

    Criticism 2: “It’s the exact same movie as FernGully, even down to the message.”

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    The humans have come to sap resources (Unobtainium) from the land.

    The male lead gets physically transformed into a being much like the natives.

    A female of the forest dwellers befriends a member of the humans.

    The man and the native fall in love.

    The humans continue to collect the resources, without care or regard for the natives.

    There is a winged creature that helps the protagonists along the way.

    There is a clear message about humans destroying nature for the sake of progress.

    Conclusion: Ok, so it’s “sort of” like James Cameron’s live action FernGully remake. It probably even has more thematic/character similarities that I forgot to include, however that doesn’t mean its plagiarism. Do you honestly think James Cameron cares about, or even remembers FernGully? If so, do you think he’s seen this?

    Criticism 3: “It’s Dances With Wolves on an alien planet”¦with Smurfs”

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    I’m going to cop out and just say watch the South Park episode entitled “Dances With Smurfs.” I doubt anyone could explain it as well as Eric Cartman.

    Conclusion: As usual, South Park is pretty much on the mark.

    Criticism 4: “The Delgo Comparisons.”

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    Look at them.

    Conclusion: Yes, it is pretty similar… but what movie was in production first?

    So what does all of that mean? Is James Cameron a plagiarist? No, certainly not. FernGully and Dances With Wolves are both stories built on conventions as old as time, and none of us are going back even further to see what they were “copied” from. If you are going to insult the film for something trivial, how about for using a title font, and subtitle font that is way to close (if not exactly the same) to the corny, over-used font known as Papyrus. As for the Smurfs comparison, yes, that is humorously close. James Cameron even said he found it funny in an interview, right before he went on to insult Jar Jar Binks, which should help us to give him the benefit of the doubt. When all is said and done, even if you think he stole from these other things (which he didn’t) he took the elements and made something great with them. Do you really think for the past 15 years he has been in his basement watching FernGully, Dances With Wolves, and Smurfs DVDs, while sipping cognac and laughing maniacally about his deceptive future plans? Is the theft of FernGully really worth creating revolutionary new technology for? No offense to FernGully, but no, it isn’t.

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    This column, Opinion In A Haystack, is often overflowing with disdain for special F/X of the computer generated persuasion. Bob Rose (me) is not a fan of CG. However, the level at which Avatar’s environments work, and the nigh-photo-realistic skin texture and muscle movements achieved by Cameron’s team make it so real, that it’s just that, real. By the second half of the film, the effects aren’t even a question anymore. Avatar doesn’t feel like Sin City, Sky Captain, or 300. There’s not this constant search to see the seams because there is no seams, it is one giant cohesive visual. The 3D is not gimmicky either. It is only used as a tool of depth and space, much like how Pixar’s Up utilized it earlier this year. 3D most certainly adds to the whole experience, but even now I think 3D should still be considered a gimmick. Avatar would work in 2D just as well as it does in 3D, if it didn’t then the whole film would be a gimmick itself. I don’t really care how much Cameron, Spielberg, and Jackson back the tech of 3D, until it can be accomplished without the viewer having to wear glasses then it’s not “normal” cinema. To me there is a fear that some movies will start being produced ONLY in 3D with no 2D counterpart.

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    All the performances in the movie are top notch, perhaps except for Sam Worthington being a touch bland. The shining star of the movie is easily Stephen Lang as Colonel Miles Quaritch. Once again we have cliché in his facial-scars coupled with his hard bitten disposition, but Lang pulls out all the stops and goes for broke with the cliché. He is easily the most enjoyable character to watch through out the run time, and his physical appearance is baffling. It looks as though James Cameron told Lang to spend the last decade in physical training to play this role, it’s hard to believe that is Ike Clanton from Tombstone, or George Pickett from Gettysburg.

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    The question of whether or not this movie will prove successful is not really a concern of mine. It’s classic Cameron through and through, right down to the “revolutionary” effects, and it’s a damn entertaining flick. The downfall of this will be the aura of “pretension” surrounding it, most people will walk in thinking that Cameron himself is saying that he reinvented the reinvention of the wheel and he’s damn serious about it. However, after reading most interviews with him, he is much more concerned with the quality-entertainment aspect then the need to change cinema. He didn’t spend 15 years on a useless light show, he spent it on a story he felt people would want to experience, and how to tell that story. Avatar works because Cameron worked hard.

    Thanks for reading.

  • Trailer Park: AVATAR Trailer – Reviewed

    By Christopher Stipp

    The Archives, Right Here

    I was able to sit down for a couple of years and pump out a book. It’s got little to do with movies. Download and read “Thank You, Goodnight” right HERE for free.

    And now, you can follow me on TWITTER under the name: Stipp

    Item #1 – ICE CREAM!!!

    I’m acutely sensitive to those who ask for what little help I can provide.

    I’ve never purported to actually have any ability to sway people to do things, Lord knows that losing 50k in that McDonald’s contest that was based on votes didn’t work out real well for me, but I am always eager to do what I can for those who have taken a chance on me.

    Dennis Widmyer is such a guy and he deserves your vote.

    The short of it is that you need to go here to watch his short film “ICE CREAM!!!” and vote for it. The long of it is below, straight from Dennis, a guy who has created a really solid short that is at the same time twisted, gory and all sorts of funny. I’ll allow him to explain what is so important about you pushing a few buttons. And, remember, for the love of God, vote on the FilmmakingFrenzy site. It’s the only way this will work. More from Dennis:

    I have a short film I directed for Fantastic Fest 09. I’m sure you’ve heard of Fantastic Fest. It was co-created by Harry at Aint It Cool News, and in only its third year, it’s already become the largest genre film fest in the country. Anyway, something cool that FF does is they have this contest called Filmmaking Frenzy whereby they accept entries from filmmakers for ‘bumpers’. Bumpers are like short, 30-45 sec commercials that play before a film at a fest. The rules of the contest state that you need:

    – A kid (below age of 18)
    – A monster
    – 30-45 secs
    – End off in the word “Fantastic”

    Anyway, my bumper is called “ICE CREAM!!!” and you can watch it here:

    http://www.filmmakingfrenzy.com/ViewFilm.aspx?FilmId=554

    It’s actually doing very well right now and we’ve gained a lot of momentum. I think we might actually have a shot of winning this thing. So please offer me whatever vote you think the film deserves. You have to register for the site to vote. The whole process takes about 2 mins. Some people have complained that the process of voting is a little confusing, so I typed up some quick instructions on it that you can view HERE.

    The link people need is: http://www.filmmakingfrenzy.com/ViewFilm.aspx?FilmId=554

    Now, go out there and vote.

    Item #2 – “Ari Gold’s Office…”

    aop_webAri Gold, the man who created the very funny ADVENTURES OF POWER, passed along an e-mail message to let me know that the site for POWER is finally in full swing and, I have to say, it’s really robust and has a lot of information about his film which will finally be hitting theaters this fall.

    Check out the film I thought was one of the best crafted comedies I’ve seen this year:
    HERE

    For those needing an explanation of the film, here it is:


    When hard times hit his small mining town, Power doesn’t wish for riches; he only wishes he’d learned to play drums. But his father could never afford to buy him a drum set, so Power has embraced the next best thing: air drumming. Tired of the constant ridicule, with nothing but a few dollars, some breakfast cereal, and the support of his Aunt Joanie, Power sets off across the country to the “paradise” of Newark, where an underground air drumming crew has invited him to join their team. But as the big air drumming competition looms, so does a rival-multi-millionaire drummer Dallas H., who thinks air drumming is an abomination and seeks to destroy Power and his crew.

    More than just a rock’n’roll comedy, ADVENTURES OF POWER is an epic fable about the American Dream-about making something out of nothing, and trusting in your own heartbeat as a way of changing the world. With a phenomenal soundtrack featuring original songs alongside hits by Rush, Phil Collins, the Dazz Band, and more, ADVENTURES OF POWER will have you drumming in your seat and cheering on your feet.

    Starring Ari Gold, Michael McKean, Jane Lynch, Adrian Grenier, Shoshannah Stern, and Steven Williams and also featuring Jimmy Jean-Louis, Chiu Chi Ling, Annie Golden and Nick Kroll, the film premiered to widespread acclaim at the 2008 Sundance Film Festival. With classic songs by Rush, Judas Priest, Phil Collins, Dazz Band, Loverboy, Bow Wow Wow, Woodie Guthrie and original songs by Ethan Gold, Adventures of Power will be released theatrically in fall 2009 by Variance Films.

    “Adventures of Power” was produced 100% independently, and shot from sea to shining sea-from the forgotten industrial towns of the West to the ghetto cities of the East. It is being released 100% independently as well, with the help of volunteers and fans from all over the country who believe in the power of the human heartbeat to change the world.

    Item #3

    untitled2I’ve got some DVDs to give away. Want some?

    LAST HOUSE ON THE LEFT came out earlier this year and it did well. As a low budget movie it made it a little scratch and, in the critics’ eyes, it was acceptable cinematic fare.

    If you’d like to add this DVD to your collection, send me a note at Christopher_Stipp@yahoo.com and I’ll enter you in a contest to win a copy of this puppy.

    For those who want to know what it’s all about here is a synopsis:

    Renowned horror director Wes Craven returns to the scene of the most notorious thrillers of all time in this darkly disturbing reimagining of The Last House on the Left. After kidnapping and ruthlessly assaulting two teen girls, a sadistic killer and his gang unknowingly find shelter from a storm at the home of one of the victim’s parents– two ordinary people who will go to increasingly gruesome extremes to get revenge. Loaded with shocking twists guaranteed to leave you on edge, it’s the ominous film critics call, “One of the best horror remakes ever made” (Scott Weinberg, Fearnet.com).

    AVATAR (2009)

    avatar_posterDirector: James Cameron
    Cast: Sam Worthington, Sigourney Weaver, Michelle Rodriguez
    Release:
    December 18th, 2009
    Synopsis: In the future, Jake, a paraplegic war veteran, is brought to another planet, Pandora, which is inhabited by the Na’vi, a humanoid race with their own language and culture. Those from Earth find themselves at odds with each other and the local culture.

    View Trailer:
    * Large (Apple)

    Prognosis: Positive. Is there any lack of snarky, nitpicky comments on a movie no one has seen? Welcome to the Interwebs because, no, there are more than a few haymakers to go around.

    Before seeing this teaser I’ll be honest in that nothing has really ignited that geek desire to see anything more than the various publicity shots of James Cameron in various states of guidance as he talks to the film’s stars.

    Cameron’s legendary control of what people know and when they’ll know it about his films almost make him the Steve Jobs of the motion picture world; he’ll give you what you want when the fever pitch is at its greatest. I would agree with that assessment if his latest eking of information, photos, et al., about the movie actually tantalized. Instead, all we know is that this movie deals with a cripple and a bunch of blue leopards that look like taller, slender Keebler Elves that were rejected from the stage production of Cats. The footage shown at Comic-Con did not incite a wholesale riot of fan boys looking to jizz all over the promise this film was making. That honor went to IRON MAN 2.

    So, what to do when the tepid response, proportionately speaking, leaves people wanting more about the tin man than they do your Sesame Street blue man group? You get yourself a 2 minute teaser trailer out there, that’s what.

    The opening sequence, to be honest, really does get me into a mind space where I would’ve liked to have been months ago. The way Cameron captures the silence and majesty of space on a grand scale simply cannot be matched, the way we are ensconced in this planet’s ecosystem is genuinely thrilling as the music is perfectly matched to the sense of awe and wonder at an alien terrain where you can walk out freely but need an scuba like system in order to breathe. It feels open and beautiful.

    And then I see the worker mechs from ALIENS. And from the crappy MATRIX sequel. I’m left trying to figure out if this a hybrid from ALIENS or if we’re to believe this is its own universe but, if that’s the case, what’s with the cribbed worker mech? Having this argument with myself is taking me out of this grand universe and that’s not what you want for a film that needs to build its own sense of self.

    Weird guy with an obnoxious scar across his face (seriously, can we just do away with the overt make-up that will obviously play an important part to someone’s twisted backstory? “Well, yar, I’ll tell ye how I got this scar…”), Worthington rolls by some tanning beds and then, well, we get Delgo. Seriously, I dare anyone with half an idea of what I’m talking about to refute the notion these aliens look like that wretched kids film. If this was an issue of copyright I am pretty sure I could make a mint for Freddie Prinze Jr. in open court. It’s a little nutty and, at almost the half way point, I’m just screaming inside my own head. We’ve got lots of things going on and none of those things have to do with this movie’s awesomeness.

    We get the clue that the cripple’s consciousness (and let’s be clear that this movie is obviously making an issue of Worthington’s handicap and I would never call a cripple a cripple. Worthington is, on purpose, a cripple to forward the plot. It’s a device. Like John Locke. He’s a cripple. He can walk in Lost. Same theory applies. I wouldn’t put it past Cameron to have thought that was an awesome idea to have a cripple walk and then meditate on the idea of mobility, the fragility of life and, thus, Sam Worthington the cripple who soon won’t be) is fed into this cartoon character (and let’s be honest, we all can tell it’s a cartoon character. It’s certainly no DISTRICT 9 effect work.) and we’re off into a fake jungle with fake plants and fake animals with chicks who like to get grungy just like in the second crappy MATRIX film.

    But I will give praise to the amalgam of cartoon fantasy and live action that seems really action-y. You’ve got machine guns and planes that mean some terrible business and dudes hanging out of planes that are firing all sorts of armament. You’ve got alien people yelling out, with their tiger teeth laid bare, and all hell’s breaking loose. It’s like the Savage Land come to life!

    There is so much happening and not much context that the issue I have with this trailer is that it is devoid of some logical sense. I think you could put together the entire film (I’m pretty damn sure Worthington is going to have some alien sex with some alien chick with deadlocks) just by looking at what’s happening and I am pretty sure we’re going to see Worthington have some kind of crisis of conscience as his alien self becomes at odds with the big bad military force. It all sounds hokey to me but the scenery looks pretty nifty and the action sequences look to be rather engaging once we see how this all plays in 3D.

    I’m in for sure but, come on, there are some things I really hope aren’t as hokey as what we see in this teaser.

  • Trailer Park: TERMINATOR SALVATION

    By Christopher Stipp

    The Archives, Right Here

    So, I was able to sit down for a couple of years and pump out a book. It’s got little to do with movies. Download and read “Thank You, Goodnight” right HERE for free.

    And now, you can follow me on Twitter under the name: Stipp

    A lot of talk this week about Quentin Tarantino’s newest film screening at Cannes. Consensus? It’s talky, light on action and seems like a WWII DEATH PROOF.

    TERMINATOR SALVATION – REVIEW

    terminatorThere absolutely shouldn’t have been any blessing given from James Cameron with regard to TERMINATOR SALVATION. The only religious intonations given over this movie should have been its last rites.

    Now, I can’t stop you from seeing this movie. You will see it irrespective of anything I have to say on this. I realize this.

    You’ve been sold on it, I was sold on it, director McG’s P.T. Barnum huckster antics during preview showcases to fanboys teased and titillated audiences everywhere (“I really fought hard for those mammaries to be in there, fellas!”) but there is no escaping the fact that behind the tell-tale daa-daa-daa-daa-daa drum beat we all know as the sonic opening calling card for this franchise is nothing but a lot of smoke and a weak film. A film, mind you, which McG himself said should speak for itself. If it did it would say: Don’t spend $10 on me. Wait for Netflix.

    There are a few things that make this a truly remarkable misstep in a franchise that should have ended 2 films ago but one of them comes early on as we meet John Connor (Christian Bale) who absolutely owns the first few minutes of the film in the way he carries his heavy burden as the leader for the resistance and the Batman-like voice with which he wants reality to conform to his own. He’s badass, he chews nails for fun and he’s not going to let crashing in a helicopter, which is a great special effects moment in this film, stop him from thrashing a terminator that deserves leaded violence.

    The problems begin with the moments following when Bale is flying over an ocean, wanting to get back to resistance headquarters. He’s been beat up, almost killed and is denied entry to the underwater base of operations. But that’s not going to stop him from getting in! Much like another summer movie hero from over two decades ago, Jack Ryan in HUNT FOR RED OCTOBER, he’s going to get on that damn sub. The fundamental issue which is wholly representative of what ails this movie is that in OCTOBER there was some emotional weight, genuine drama as he unhooked himself from that line to get in that submarine; there was tension, mood, atmosphere, a real sense of danger. Bale’s bullheaded bravado, masked by the tired trope of cinematic bullheaded machismo as he flippantly tosses himself out of the low flying aircraft into the ocean, is nothing more than a cheap way to try and make this guy seem like a real tough guy.

    When next we see Bale, he’s sitting in a chair looking all kinds of torqued, moody, getting chewed out by Michael Ironside, playing a character I am not unsure of whether is any different than we saw from any number of 80’s movies where his role is to try and be an even tougher character than those he’s acting opposite of, all the while it begs the question of how much suspension of disbelief is going to be required of me in this film?

    It’s a trick question, of course, as the film has moments like this peppered throughout the entire film. For example, the people who have been living without real homes since Judgment Day. They’re fantastically dirty and dusty but the glare coming off their teeth as their lips and faces are sullied with the detritus of a cataclysmic event reminds you that at least they have their Colgate. Another: When Marcus Wright (Sam Worthington, and you’ve got to appreciate the grade school irony in a script that names a man Wright) meets up with young Kyle Reese (Anton Yelchin) in one of the best sequences of the film as we have our first look at a terminator who is at once zombie-looking and completely sinister. Hours later, after escaping death, Marcus fiddles with a radio. He just happens to fix it at just the time when, speak of the devil, Connor is broadcasting his fireside chat with those out in the field regarding their next moves. Never mind the timing, the way they catch the signal at just the right frequency or the acknowledgment that it’s Connor speaking to them. It’s just all very convenient.

    Later, Reese is part of an escape from a very bad situation from a slew of terminating machines. He and Marcus are departing the explosive moment in a tow truck when moments later he has to pull a single lever at just the right time to make the scene work; forget logic, it begs us, as not only does Reese pull the right one at the right time from a literal array of choices it does nothing to help the dramatic thrust of the film. There is no danger here, no threat of imminent danger, because these guys have an exponential amount of luck on their side and this is the problem with the film.

    Further, in the film’s first hour, we find out early that the resistance has found a way to stop the machines, a poorly explained software program that is embedded on a jump drive that needs a clunky boombox to use. About this time, Connor sends his team to fetch an aqua terminator, a lot like the squids from the MATRIX sequels, to which they find one, bring it aboard, all the while being able to keep it from informing other aqua terminators that its been captured or of its current location. This sonic disruptor is one of the weakest McGuffins as it leads exactly nowhere. It’s a ruse, a poorly devised plot device whose sole purpose is used to an awful and regrettable convenience when finally employed to its strongest effect. The film is riddled with lapses in logic, and honestly if an action movie were on point doing what it has to, we shouldn’t care but from rain that just seems to stop on cue to a fiery explosion that singes nary a hair on the person who is caught in a fireball there is more than enough to puzzle at.

    Moon Bloodgood, for all that McG has made about her, is actually one of the more redeemable things about this film. Along with Sam Worthington and Anton Yelchin as the reluctant hero you have the three best reasons to see the film. I would even posit that their story, by itself, could have been a more entertaining diversion than what we build up to here. Marcus’ second lease on life is slightly introspective and rather interesting. Kyle’s progression from hesitant killer to lethal hero is wonderfully laid out. But that’s the most frustrating thing about this film. It has fits and starts of potential and has excellent action set pieces only to dumb itself down to appease the lowest common denominator as moments just happen to break positively for those we are supposed to care the most about in the movie. When the “big reveal” in the 3rd act happens near the end try and convince me otherwise that it doesn’t make you feel cheated. The shadows, the calculated angles, the careful placement of bodies, it feels more like a math assignment than it does a celebration of all that’s great in excellent action movies. The effects at this point felt on par with THE CROW. The penultimate battle between man and machine, in the bowls of Skynet headquarters, however, tries to win you back with a glorious display of physicality and menace but by then it’s too late. The film cannot elevate itself above a 2nd tier auctioneer when compared to more thought out films in its genre; leave it to Nolan to raise the bar for everyone else who comes behind him. I commend McG for not bowing to the pressure of actually integrating more of the terminators in the film, Lord knows that would’ve made it far more intriguing and add to the summer spectacle this should have been, but he demurs to telling a bullet ridden story with nowhere to end but with a whimper.

    For all his ruminations about how Bale said he flatly turned down this role until he was given a script that you would have thought came with gilded light pouring down from every page if it got Bruce Wayne to say “Yes” to it after turning it down what you have is a story that is full of logical missteps, plots that go nowhere, effect work that at times has you wondering whether it was worth the cameo and the questionable taste for an actor that proved with DARK KNIGHT you could have a great summer film that was designed, and whose sole purpose was, to make money for its cash master while being reasonably intelligent. TERMINATOR SALVATION is a wonder as it doesn’t want to be intelligent, it doesn’t even want to be smart, it just wants to be a throwback to the films you could enjoy on basic cable and be done with once you’ve seen it. It’s an embarrassment of spectacle that leaves a lot of money on the table.

    From a pure franchise standpoint, a solely economic exercise, McG may win the weekend but he will lose the summer war.