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Archive: February 2009

The 81st Annual Academy Awards

23 February 2009

Oscar® Statuette

The annual four-hour Oscars® telecast, aired on Disney’s ABC, fizzled as usual. The Best Picture winner (see 7 Jan 09 post for my review) is another smaller-than-life stinker that ought to be forgotten like Oscar’s other recent low-life Best Pic winners. Slumdog Millionaire (represented last night by an onstage collective, one of whom took the award as an opportunity to trash another studio) is like a sensationalistic cable television profile without the realism. Gran Torino (see 14 Jan 09 post), Milk, and Frost/Nixon are better movies. Hollywood’s best picture in 2008 was The Curious Case of Benjamin Button, a splendid motion picture that recalls Tinseltown’s Golden Age of making movies.

The show was as boring as the top winner. Host Hugh Jackman is talented, and he did his best, but having past winners present awards was a drag—like an award is the personal preference of a previous recipient—and having comments about each acting nominee’s merits puts the emphasis on an artist’s career, not on the artist’s nominated performance. Indeed, no acting clips were shown and the picture clips were mixed with old movies. You could almost see viewers reaching for the remote, especially whenever Slumdog racked up another win. Crash, The Departed, No Country for Old Men—I include my own favorites such as Little Miss Sunshine— Hollywood’s getting smaller than a parasite and often just as unoriginal.

Along those lines, and this is not to be catty, one of my favorite stars, Reese Witherspoon, looked like she’d been kidnapped by a modern art advocate and made to parade around in that gaudy eye make-up and a dress that resembled an oceanic oil spill. The Illusionist’s Jessica Biel looked as if she was trapped in a giant tablecloth, and poor Anthony Hopkins seemed like he couldn’t wait to escape the debacle. The pretentious acting award presentations alone—which were unbalanced and undignified—were a nightmare.

Oscar’s highlights were the ads—Hyundai’s raging German and Japanese competitors made a humorous impression—and, never sounding better, Queen Latifah performing a lovely rendition of “I’ll Be Seeing You” (though she could have done without the black thing on her otherwise stunning dress). To finish the head-nodding affair, Barbara Walters did what amounts to a tasteless ad for a Christian singing group that’s sponsored by the company that owns the network. So much for being a pioneer; Walters—who wrote a gossipy biography last year—is as credible a journalist as her ex-boyfriend Alan Greenspan is a laissez-faire capitalist and the Oscars®, like the economy and the nation, are on a downward trajectory.

DVD Shots

17 February 2009

High School Musical 3: Senior Year

Borrowing here and there from Footloose, Chicago, and All About Eve, choreographer and director Kenny Ortega’s third movie in a series that started as a breakout hit for cable television, High School Musical 3: Senior Year (premiering on DVD today) is more of the same innocuous fun.

Of course, the picture is as generic as the title and these kids seem to put on shows that cost more than the Oscar campaign for Slumdog Millionaire, but, as a Disney version of Grease, the mini-tales of an Albuquerque, New Mexico, high school stay true to the series’ theme that the individual should rise above peer groups. Songs are decent, dancing is terrific, and the plot, centered on East High’s Gabriella, weighing a scholarship to Stanford, and Troy, deciding between sports and drama, is fine. Some kids age better than others—Luke Grabeel as Ryan is still the most talented—and everything’s exaggerated.

The two-disc DVD (one’s a digital copy so the movie can be watched on one’s iPhone, Mac or PC) contains no printed program, just the movie—an extended version, and I couldn’t tell where it’s been expanded—and extras listed on the back of the box which, as usual, are more hype than reality. Deleted scenes, bloopers, features, sing-alongs, and cast farewells—few last longer than a minute or two and cast member participation is uneven. Fans of male lead Zac Efron will be disappointed, though the actress who plays Taylor, Monique Coleman, seems to appear in every spot.

Valentine’s DVDs

12 February 2009

The Notebook

One of the best Valentine’s Day gifts I’ve seen is the new Limited Edition DVD gift set for The Notebook. The romantic 2004 motion picture, featuring Rachel McAdams, Ryan Gosling, James Garner, Gena Rowlands and James Marsden, stands on its own (I thoroughly enjoyed it). The usual DVD extras—commentary, deleted scenes, promotional features—are included. Besides the disc, this Warner Bros. product is additionally packed with a hardcover, ringed pictorial mini-scrapbook about the movie (with blank pages, stickers, and photo corners for your own love story), 16 Notebook notecards and envelopes, and, my favorite, bookmarks (I can never have enough). The attractive gift pack for The Notebook, packaged in a ribbon-lined letterbox, is available directly from the studio for $ 23.95.

The Burbank, California, studio offers a DVD set it dubiously calls a Romance Classic Collection of four B-movies starring its contract players Troy Donahue and Connie Stevens. Among the movies: Palm Springs Weekend (scripted by Earl Hamner) and one of Claudette Colbert’s last movies, the melodramatic tobacco farm epic, Parrish. The others are Susan Slade and Rome Adventure. They’re mildly trashy with limited value.

Nights in Rodanthe

On the other hand, Nights in Rodanthe, which, like The Notebook, is based on a Nicholas Sparks novel, is a memorable experience. I didn’t like the ending when I saw it in the theater, but I’ve since taken a second look at the DVD. With sweeping vistas of North Carolina’s Outer Banks, an affair between Richard Gere’s guarded doctor and Diane Lane’s damaged housewife, long takes, romantic score and an oncoming hurricane, it’s grand entertainment. There’s a twist (which I still don’t like) that shifts the picture into an epilog of liberation. Watch Lane’s character evolve from daddy’s child in the first frame to independent woman imparting the lesson of real, rewarding love—Lane’s at her best here—and you’ll get the idea. Also featuring James Franco, as good here as he is in Milk, Scott Glenn and Doubt’s Viola Davis. Nights in Rodanthe and The Notebook, in that order, make a perfect Valentine double feature. No extras on the Nights DVD.

Screen & Pop Shots

11 February 2009

Confessions of a Shopaholic

Avoid Confessions of a Shopaholic like a government handout with strings attached. This stinker feels as if was swiped through a credit card machine a zillion times and it’s chiefly the fault of an atrocious script and a lead character (played by someone named Isla Fisher, apparently Borat’s real-life girlfriend, which explains everything) who’s as appealing as a root canal. The dishonest character is utterly irredeemable and Fisher’s bland presence sinks the movie.

Confessions is a rehash of every tart-with-a-heart-of-gold pic in the past five years and this ditz—who’s supposed to be a fashion genius—dresses like a trollop. She looks like a cross between Pebbles on The Flintstones and one of those plain Janes who overdoes every part of her ensemble. My screening companion, Laurie, tells me this stuff is designer-made and highly popular but it still looks like crap to me. Fishnet stockings—chain-link necklaces—a magazine journalist who writes one column and becomes the toast of the town—a bank that actually loans money to a businessman—hair that goes from straight to curly in a millisecond—this movie, which gets a second wind thanks to director P.J. Hogan, desperately trying to create something of quality, is awful. You know you’re in trouble when the bridesmaid’s dress is better than anything else on screen. The talents of Joan Cusack, John Lithgow, and—in the only part that works—Kristin Scott Thomas are wasted. The same goes for poor Hugh Dancy as the love interest. Hogan, a fine director who gave us Universal’s wonderful live action Peter Pan, indie gem Unconditional Love and the irresistible My Best Friend’s Wedding, deserves better. A textbook case of unwarranted above-the-title billing, Confessions of a Shopaholic runs counter to its attempted theme of earning it.

I hear from composer Nile Rodgers that the guitarist who wrote the infectious tunes “Upside Down” and “I’m Coming Out” for Diana Ross is working on new material for the singer (see 26 July 2008 post for her concert review). Mr. Rodgers’ impeccable work has lasted for decades, from his band CHIC’s popular records and “We Are Family” by Sister Sledge through his albums for David Bowie (Let’s Dance), Madonna (Like a Virgin) and Duran Duran. One of my favorite songs is his idealistic “Original Sin” by INXS, which harmoniously blends horns and riffs into an uplifting anthem. I can hardly wait to hear—and dance to—what he makes for Miss Ross.

War Shots

10 February 2009

With today’s news that the Obama administration’s historic economic legislation has been approved in the U.S. Senate, it’s worth remembering what propelled Barack Obama to the presidency two years ago: his opposition to the Bush administration’s war in Iraq and his promise to withdraw our troops. President Obama has yet to act on that pledge.

The men and women being sacrificed are choosing to check out on their own terms, according to a new report. For the fourth straight year, the number of soldier suicides has escalated. "We lost more soldiers to suicide than to al-Qaeda," said Paul Rieckhoff, executive director of Iraq and Afghanistan Veterans of America. With self-sacrifice as the nation’s—and the military’s—officially dictated purpose, young people can be expected to practice what is increasingly preached. The spike in the Army’s suicide rate includes those at the nation’s top military training center, the United States Military Academy at West Point.

When Ayn Rand visited West Point in 1974 to deliver her speech, “Philosophy: Who Needs It,” she told the young cadets: “The army of a free country has a great responsibility: the right to use force, but not as an instrument of compulsion and brute conquest—as the armies of other countries have done in their histories—only as an instrument of a free nation’s self-defense, which means: the defense of a man’s individual rights.” She was right. I suppose the soldier suicides will decrease only when they are returned to their proper and noble aim: defense of the nation’s self-interest.

Speaking of West Point, the Army has created a new oral history center for first-hand accounts of those who served in World War 2 through the incursions in Iraq and Afghanistan. As for Ayn Rand, a new blog has been established for advancing her ideas.

Screen, Pop and Book Shots

6 February 2009

He's Just Not That Into You

Amid the bad news—and the Senate is reportedly assembling to approve the largest spending package in American history, a disgraceful piece of legislation—including hundreds of thousands out of work, I was predisposed for a light picture show. The vacuous He’s Just Not That Into You hit the spot. The romantic comedy, featuring an ensemble cast led by Ginnifer Goodwin and Justin Long, is a plotless, interconnected affair. Relatively young people do scenes in mini-monologues—several to the camera, breaking the wall—about relationships. Though it is trite, cloying and a pinch brighter than an episode of Love, American Style, it beats watching Congress and the White House decimate what’s left of American capitalism.

The multiple member cast includes Goodwin as a desperate female who learns from barkeep Long that men mean what they say (hence the title). The most involving couples are played by these two, Jennifer Aniston and Ben Affleck and, showing self, home and marriage as works in progress, Jennifer Connelly (nicely spinning her Little Children character) and Bradley Cooper. This trivial movie represents what might be called imitation romanticism and there is no excuse for some of the script’s trash but some of it’s insightful and—despite what pompous Chicago Sun-Times critic Roger Ebert says—the happy endings are plausible. One, in particular, delivers a Valentine’s Day reminder that happiness can be found in being alone. I found things to like here, with an old-fashioned, big city feel (the setting is Baltimore, Maryland) made of cubicles, coffeehouses, and gigantic neon signs for American business.

Of course, as soon as I heard that Scarlett Johansson was in the picture, I knew her voluptuous body would be featured in half the movie (it is), and I brought ear plugs in case she’d successfully negotiated a contract in which Warner Bros. was required to let her sing (see my post about her album on 22 August 2008). Thank goodness this was not permitted, though she has a singing scene in which her voice is not heard (or I blocked it out). But they sent the soundtrack and I am sorry to say she won that battle, hacking up Jeff Buckley’s “Last Goodbye” and sending children and dogs running for cover. The rest of the CD, with tunes by The Black Crowes, R.E.M. and a smattering of mid-range artists I’ve never heard of, is mediocre and the best tracks—The Cure’s “Friday I’m in Love” and Human League’s “Don’t You Want Me”—have been around for a while. Most songs from the movie are forgettable.

Objectively Speaking

A better buy is a new paperback from Lexington Books, Objectively Speaking: Ayn Rand Interviewed, which I’m reading in spots. The 270-page edition includes 32 interviews with Ayn Rand (1905-1982), a 1999 radio interview with Leonard Peikoff as an epilogue and an index. Between 1962 and 1966, she conducted a series of radio broadcast interviews for Columbia University on certain subjects and these are especially interesting, particularly her thoughts on the American Constitution and law. Here, at last, are transcripts from her two 1967 appearances on The Tonight Show with Johnny Carson—a glimpse of the author of Atlas Shrugged at her peak—and interviews by CBS News’ Mike Wallace, NBC News journalist Edwin Newman and the late financial reporter Louis Rukeyser. Now if only someone will publish her interviews on NBC’s Today Show, with Tomorrow’s Tom Snyder and with talk show host Phil Donahue. Reading what the self-proclaimed radical for capitalism had to say is more captivating, and urgently relevant, than ever.