Thursday, January 30, 2003
CHUCKIE BABY!
Well, I went to go see George Clooney’s directorial debut, Confessions of a Dangerous Mind, and, from what I can tell, the guy has a promising future.
I’ve been wanting to see this one for awhile, since it’s the life story of Chuck Barris, the TV producer who brought us such game show classics as The Dating Game and The Newlywed Game. But the show I really enjoyed the most, being actually hooked on it as a kid, was The Gong Show. The Gong Show wasn’t so much a bad talent show; it was a comedy show. Barris was pretty hilarious as the host, handling the duties with a strong dose of sarcasm. The guest judges, most times headed by the queen of sexual innuendo, Jaye P. Morgan (who I later found out was a chanteuse in the 50’s), were equally irreverent and often obnoxious. For a kid, this was the television equivalent of Mad Magazine, a show where nobody was taken seriously.
Barris wrote his “unauthorized biography” back in 1982, but for some reason, I’d never heard about it until recently when it was reissued by Hyperion/Miramax Books. I made sure to pick up a copy and read it before seeing the movie. It’s pretty hilarious. The funniest aspect is how, while reading about his seemingly never-ending “search for pussy,” I couldn’t help but hear each word read in that familiar Barris voice. The goofy TV persona and the often raunchy subject matter creates for a very funny mix.
But it’s not the sex that is so controversial about Dangerous Mind. No, the big controversy surrounds Barris’s contention that, while he was a big-wig Hollywood television producer turning out lots of entertaining shows, he was also a hitman for the CIA. Barris refused to discuss this on recent talk show interviews, and won’t confirm or deny if it’s true. But really, it’s not important. In his book, he makes a plausible case for how such a double-life could be true – and people who know him confirm that he would often disappear for weeks at a time, with no one knowing where he was. But most people think it’s an elaborate joke – a gimmick to sell books (and now a movie). But the point is, as Barris has said himself, does it really matter? Whether it is true or not, it makes for a great story, and the first rule for Barris seems to be to entertain.
Which brings us to Clooney’s movie. Supposedly a screenplay for Dangerous Mind has been kicking around Hollywood for over a decade now. It has been optioned and came close to being made into a film several times before, but nobody ever seemed to get their act together until now. As the subject of Clooney’s directorial debut, the life of Chuck Barris is compelling and often very funny.
For the most part, Charles Kaufman’s script (he’s the same guy who wrote Being John Malkovich and the new movie Adaptation) is pretty faithful to Chuck's book. There are a few big changes that don’t seem to work as well as in the book, but were probably done for the sake of keeping the movie under a 2-hour limit (thank goodness for that, I've seen way too many 3 hour movies lately!).
Barris is played by Sam Rockwell, and I’ve got to admit, Rockwell has him down cold. From the soft, gravelly voice to the mannerisms, to even Barris’s odd walk (a cross between a swagger and a stumble), Rockwell actually becomes Chuck Barris. And he is immensely watchable. The scenes that take place on The Gong Show, including a time when Barris has a kind of nervous breakdown during the course of taping an episode, in particular, are top notch. Although I was sad they didn't include the scene from the book where Jaye P. flashed her breasts during a show taping (a move that actually got her banned from the show).
The supporting cast does a good job, too. Clooney himself plays CIA operative Jim Byrd, Chuck’s mentor in the CIA. He brings the right amount of authority to the role, and really does look a lot like Clark Gable with that mustache. I always thought Clooney had a quality about him that’s a throwback to the old Hollywood stars – and it’s very apparent here. Drew Barrymore plays Chuck’s ditzy girlfriend, Penny Pacino, who sticks with him through thick and thin. I don’t think Barrymore has a lot of range as an actress, but she’s reliable enough in a ditzy girlfriend role. Julia Roberts is also in it – an actress I normally can’t stand – but she’s good enough as another CIA operative who Chuck comes into contact with on a regular basis, and has an affair with. She comes off as cold and condescending (qualities I am starting to think represent her in real life as well, based on some interviews I’ve seen), but in this role, it works. However, for a moment there, seeing Julia Roberts in the film kind of breaks the illusion for a moment that we’re watching real people.
Also in the mix are a few documentary moments, where real people like Dick Clark, Jaye P. Morgan and Gene Gene the Dancing Machine answer questions about Chuck Barris. These added an “is it reality or fiction?” element to the whole thing. Barris himself even makes a brief appearance at the end, looking old and worn compared to the television version a lot of us remember.
The movie works, and it’s a lot of fun. Everyone does a fine job, especially Rockwell, and Clooney proves himself more than capable as a director. Like I said, there are parts that are different from the book (Chuck’s last meeting with the Julia Roberts character in particular is handled much better in the book), but on the whole, it’s good stuff. Definitely worth checking out, especially if you grew up watching Barris dance around like a madman on The Gong Show.
A few things to note. For some reason, a lot of critics who reviewed this movie took the chance to take pot shots at Barris as some kind of villain who somehow single-handedly ruined television back in the 60’s and 70’s. I’m not sure why someone reviewing a movie would use their review as a chance to attack a real-life person whose life the movie is based on. I saw descriptions like “despicable” and “morally bankrupt” and I’m not sure when movie reviewing became a chance for some people to preach. But how was this likeable, silly guy, who created entertaining, if anti-intellectual, television – who’s only goal was to entertain (and he must have been successful, since many of his shows were huge hits we remember even now) – a demonic figure? Sure, he was a pioneer in bad taste and reality television, but since when is that a crime? I just don’t get it.
And if the critics are slamming him as despicable because he was a hitman, then that’s pretty funny, considering just about all of them agree that that’s probably a big old scam.
Another thing that comes up a lot in reviews is the comparison between Confessions of a Dangerous Mind, which Barris wrote in 1982 and A Beautiful Mind, the story of John Nash, which was published as a book in 1999. A lot of people have made the tired joke that Barris’s version is “An Unbeautiful Mind” (how clever!). Comparisons are inevitable, since both feature shadowy CIA figures that could be the products of fevered imaginations. But just for the record, Barris wrote his book first, and was the first to use the “Mind” title.
Go figure.
Monday, January 27, 2003
I'm A "Featured" Writer
Got some very cool news this weekend. The New England Chapter of the HWA (Horror Writer’s Association), which I belong to (along with my wife, and fellow writer, Laura Cooney), will be doing a revolving “Featured Writer” section on their website, where every two weeks or so, a different person is chosen to be in the spotlight.
Well, this week, the "Featured Writer" is me! If you’d like to check out my profile, and see what the other members of the New England Chapter are up to, just go here: HWA-New England Chapter
Just saw The Hulk movie trailer on TV, and it looks awesome! I think Ang Lee is going to deliver the goods on this one! This is the first trailer to show how the Hulk will look - giving us a complete look at him from head to feet. I really am getting high hopes for this one.
I think 2003 is going to be a great year for movies.
More Ommissions: I recently came across a few more cd’s that I forgot about when I did my Best of 2002 list a few weeks ago. Just goes to show you why Hollywood releases so many good movies at the end of the year for Oscar consideration. Most people have short memories about stuff that was released earlier in the year. I guess I'm as bad as anyone else. Two cd’s that definitely deserved to be on my list, and were left off, include:
Rob Zombie - SINISTER URGE. I can’t believe I forgot that this one came out in 2002. This album totally kicks ass and would have been near the top of my list. Zombie’s solo work has been fuckin amazing, and I must have listened to Sinster Urge a hundred times when it came out. I felt I should correct this oversight.
Another solid album I enjoyed was Disturbed’s new one, Believe. They’re definitely at the front of the pack when it comes to so-called neo-metal bands, and the album probably would have just made it into my top 10 , or would have been just outside it. While it’s not as strong an album as their debut, The Sickness, the new one is pretty good and was a highlight in 2002. And this is from a guy who normally finds a lot of the “new metal” groups that have taken over commercial radio to be pretty boring.
And there's one album that I didn't list because I hadn't heard it yet. Finally got ahold of the new Wire cd, READ & BURN 01. And it kicks major ass. If you're a Wire fan, you are going to love this one. They go back to their punk roots a bit, and a lot of the songs have the kind of wild energy the band had back in the late 70's/early 80's. And it sounds like we can expect a lot of the same from Colin Newman and the boys. They've supposedly got more cd's coming out soon in the READ & BURN series.
Wednesday, January 22, 2003
Well, it's another quiet week. Not a lot to talk about. But there might be a few interesting things coming up soon. See you next week - same Bat Time, same Bat Blog....
Thursday, January 16, 2003
I've been trying to catch up on the new movies. Because of the Oscars, the studios always wait until the end of the year to release what they think are their best films. So the last two weeks or so of 2002, a ton of good movies come out. Or at least that’s what the critics would have us believe. I saw a couple of these movies this past weekend.
First off, The Hours. I have to admit, I never read Michael Cunningham’s book, but it’s gotten lots of praise. This really has nothing to do with whether the movie works, though. I’m sure the two are quite different. I mainly went to see this one for Nicole Kidman, being a fan of her work and all (I even sat through the wince-inducing Moulin Rouge, somehow - I guess because she looks so damn good in it). But this time around, she’s practically unrecognizable, thanks to a prosthetic nose, used to make her look more like writer Virginia Woolf. It works. The make-up doesn’t cover up the fact that Nicole is a solid actress, though, and her Mrs.Woolf is very effective. Her scenes are definitely a highlight of the movie, as we witness the last day in the life of Virginia Woolf.
But that’s not all there is to The Hours. It’s a movie about three different women, in three different time periods. Aside from Virgina Woolf in the early 1920's, struggling with madness and thoughts of suicide, we have Julianne Moore as a housewife living a life of quiet desperation in the 1950’s, and Meryl Streep as a modern-day New York editor, caring for a former lover (played by Ed Harris) who is dying of AIDS.
Each story has something to offer, but the overall movie seems to be lacking something. Kidman’s performance as Woolf is compelling, but her storyline for the most part seems kind of static. Moore’s storyline was actually the most interesting to me – her 50’s housewife seems to have it all– a husband who loves her, a happy son, a home in the suburbs. And yet she finds herself considering suicide. It seemed real, and Moore’s storyline packed the biggest emotional wallop for me. It almost seemed like a flipside of her role in another 2002 film, Far From Heaven.
Streep’s story is the weakest, only because her character is least interesting. Her character has given up a lot of years caring for a former lover. Yet, her own “love” relationship (with partner Allison Janney – woefully underused here) seems pointless at best. There is no real contact between Streep and Janney until the end of the movie, and even then it is too little too late. We have no real sense who Janney's character is, and how these two could last in a relationship for ten years, especially since Streep seems obsessed with Ed Harris’s character. Harris turns in another amazing performance, though. He’s painful to watch as a man in the last stages of a killer disease. When he’s onscreen, Streep’s storyline has some power. But I found it hard to care about her character.
Then again, I’ve never been much of a Meryl Streep fan. Aside from Sophie’s Choice, I haven’t seen her in too many roles that justify her much-praised reputation in Hollywood. She’s an okay actress, but not an incredible one. Certainly she hasn’t earned the reputation she has as “an actor’s actor.” Not in my opinion, anyway. And, in this film, I think the other two leads, Kidman and Moore, easily prove themselves more than her equals.
All said, The Hours is a good movie, and is probably worth going to the theater to see, if you’re a fan of the people involved. But I can’t say it’s a great movie. Some of the performances probably deserve Oscar nominations, especially Kidman, Moore and Harris. But, like I said, there’s something lacking in the film itself. Something that keeps it from true greatness.
I also saw Adaptation, the new film by the writer (Charles Kaufman) and director (Spike Jonze) who brought us Being John Malkovich. There’s a lot of good things in Adaptation, but it’s another movie that has flaws, and doesn’t strike as deep a chord as it could have. And it certainly is not in the same league as Malkovich.
Basically it’s the story of screenwriter Charlie Kaufman trying to adapt Susan Orlean’s book The Orchid Thief into a movie. This is clearly not the easiest of tasks, since, from what we see, the book is a long pontification on the adventures of a Florida flower rustler, played by the always reliable Chris Cooper (also the psycho neighbor in American Beauty). In a lot of ways, the movie is pretty clever, even giving Charlie a twin brother (to represent his fractured psyche?). From a writer’s standpoint, the screenplay is smart, featuring layers within layers as Charlie goes through the agonizing process of writing a screenplay. At one point, he even goes to a seminar held by (real life) screenwriting guru Robert McKee (another great performance from Brian Cox), trying to find the answer to his dilemma. The movie is actually painful to watch at times as you wonder how Kaufman is going to make everything come together. Any writer who's been in the same situation can definitely sympathize. It really is a good representation of the writing process at its most frustrating.
This time we have Nicholas Cage in the lead as Charlie Kaufman and his twin-brother Donald. Cage is a really iffy actor. While I’ve liked him in some movies (the amazing Leaving Las Vegas comes to mind, as well as David Lynch’s Wild At Heart), he can also be really annoying. He’s also the only actor I can think of who, after winning an Oscar, decided to star in as many Hollywood crap blockbusters as he could, instead of pursuing more challenging, literate roles. Here, Cage is better than he’s been in years, and he really sinks his teeth into the role. He fleshes out both brothers and gives them both definable personalities. But I found myself wondering, more than once, what an even better actor could have done with the roles of Charlie and Donald.
Also, we have Meryl Streep again. But her role is much more interesting in Adapatation than it was in The Hours. But, once again, while she was fine as Susan Orleans, I couldn’t help wondering if maybe there was someone who could have played the role even better.
For a lot of reasons, I should have loved Adaptation. It’s clever; it’s highly original; it works on many levels; it makes you think. And it’s about writing. But I didn’t love it. I can appreciate it, and even days afterward I found myself trying to decipher more of the clues to this complex screenplay. But it’s not the kind of movie I could really embrace. Like The Hours, it was lacking something. A vague, indefinable piece of the puzzle that keeps it from grabbing the brass ring and hitting that home run.
Adapatation is, however, the kind of movie that begs to be seen more than once, just so you have another chance to figure out all the layers and get all the inside jokes. But I'm in no rush to see it again. I can wait until it turns up on video or on cable - by then it won't be as fresh in my mind and I might be more open to it. And, who knows, I might even like it better the second time around. It's that kind of movie.
Are these movies worth seeing? Sure. They’re smart, well-acted, and well-written. I’m just saying, they weren’t masterpieces. Although they’re admirable attempts.
Friday, January 10, 2003
Not much happening this week. I figured I'd take a break since I wrote four posts last week. But don't worry - next week I'll have a lot more new stuff. See you next Thursday!
Thursday, January 02, 2003
FROM THE "HOW DID I FORGET THIS" DEPARTMENT:
One of the pitfalls of writing "Best Of The Year" Lists is that things that came out early in the year can easily be forgotten. And that's what happened this time around. After posting my list of Best CDs of 2002, I realized that I'd missed one that could possibly be my favorite for the year. So I might as well add this addendum.
And the cd in question is.........(drum roll)
Lydia Lunch & The Anubian Lights - Champagne, Cocaine & Nicotine Stains: (from back in February 2002). I've been a big Lydia fan for many years now, and I don't know how I overlooked this terrific album. Technically, it's only an EP, but the five songs on the cd are all great, featuring Lydia in role of avant-jazz chanteuse. The Anubian Lights are an excellent backing band for Ms. Lunch's unique vocal stylings, and this is a real pleasure to listen to.
So I guess everyone on my "Best Of" music list takes a step down. Oh well, these things happen. LOL.
BEST CD's OF 2002
At first, I thought this wasn't exactly a great year for music, but, when I tried to compile a top 10 list, it was much harder limiting the cd’s to just 10. So I guess it wasn’t so bad after all. Here goes:
Sleater-Kinney – One Beat: Sleater-Kinney might just be the best all-girl punk band making music today. Maybe even the best ever. They continue to put out quality product every time. 2002 was no exception.
Queens of the Stone Age - Songs for the Deaf: I have to admit, the first few times I listened to this album, I didn't like it. Then it slowly grew on me, mostly due to hearing "No One Knows" on the radio. It's so catchy, it sucked me in, and from there, I just starting liking the whole cd more and more. One of the few instances where I had a complete about face. In fact, I’d go so far as to say this one is practically tied with Sleater-Kinney.
Interpol – Turn on the Bright Lights: Sure it’s derivative of everyone from Joy Division to Echo and the Bunneymen, but I’m really hooked on this one. From the great, catchy single “PDA” to great tracks like “Obstacle 2,” “Stella Was a Driver and She was Always Down” to “Roland,” this is the one new NY “neo-garage” band that I’m actually excited about.
Foo Fighters – One By One: Dave Grohl and Co. continue to put out solid rock. From the start-off track, “All My Life,” you know you’re in good hands. Another terrific cd.
Elvis Costello – When I Was Cruel: They say you can’t go back again, but Elvis has recaptured some of his old magic on this one. After a handful of mediocre cd’s, Mr. Costello proves that he still has some of that old anger left in him, and that he hasn’t lost his chops when it comes to solid lyrics and great tunes.
Emm Gryner – Asian Blue: This Canadian singer might not be a household name yet, but I think she will be sometime soon. Comparisons to Tori Amos are probably inevitable, since she sings and plays piano, but Emm has a sound all her own, and put out her strongest album yet in 2002. Standouts include the amazing “Beautiful Things” as well as stellar tracks “Siamese Star” and “Symphonic.”
Rise Above (Black Flag Tribute Album) : Henry Rollins and his band decided to put out a cd where they cover 24 Black Flag songs, most of which have guest singers from other bands on them. A few clunkers, but mostly great stuff that brought back to mind how amazing Black Flag was in their heyday. Standouts include Corey Taylor of Slipknot’s turn on “Room 13”, the Rollins/Exene Cervenka duet on “Wasted” (bringing together two of the biggest icons of the 80's Cali Hardcore scene, and it’s great, but too short), and Lemmy from Motorhead singing “Thirsty and Miserable.” The best of all might just be Ice-T singing on “Police Story.” It’s just perfect. Other standouts are remakes of the fun classics “Six Pack” and “TV Party” (with updated show references!). The proceeds for this cd go to benefit the West Memphis Three – seen in the HBO documentary Paradise Lost.
Tom Waits – Bloody Money & Alice : I know these are two separate cd’s, but Waits released them at the same time, and they’re both really enjoyable. If you’re into Tom Waits, you’ll love these. Nobody sounds like Tom.
Sonic Youth – Murray Street: Not the best Sonic Youth album, but still pretty damn good. There are years when they’ve been at the top of my list. Thurston, Kim, Lee and Steve are still churning out great stuff, without compromising their indie roots.
Tori Amos – Scarlet’s Walk: I first started listening to Tori Amos because she was the “new Kate Bush” and Kate took a decade before she’d release a new album. But Tori is so much more than that. She’s an amazing song-crafter and this is another solid album.
Lambchop – Is A Woman: Okay, so this is the 11th album in my Top 10 list, but I couldn’t leave this one out. Kurt Wagner and the gang have been putting out incredible albums for awhile now. I’ve heard their sound referred to as “alt-country” but that’s really inadequate. Sure there’s some country elements in there, but there’s a punk sensibility in there too, and a dirgey quality that is more goth than honkey tonk. Hell, Lambchop are a genre all their own.
Some albums that kicked ass but didn’t make the list include: Audioslave (the pairing of Soundgarden’s Chris Cornell and the guys from Rage Against the Machine just makes perfect sense); Beck’s new album Sea Change (I found the cd a bit uneven, but “Lost Cause” is definitely one of my top 3 singles of 2002 – great, depressing song); Joey Ramone’s bittersweet farewell, Don’t Worry About Me; The Residents’ new one Demons Dance Alone which might be a bit more accessible than some of their other albums, but pure Residents all the same; and Sinead O'Connor's Sean -Nos Nua, where she with the amazing voice sings Irish classics.
Well, that finally wraps up 2002. Now a new year of music and movies begins...I can't wait.
BEST MOVIES OF 2002
A lot of people announce their "Best Of" lists around this time. I thought it might be fun to do the same. Here's a few movies I especially enjoyed last year. Just keep in mind, there are probably some good movies missing, but, obviously, I can only talk about what I’ve actually seen.
The Ten Best:
Far From Heaven - the 1950's film Douglas Sirk never made. But Todd Haynes did. Almost perfect all the way through, especially the relationship between Julianne Moore and Dennis Haysbert. This might just be the role that finally gets the talented Julianne Moore a Best Actress Oscar.
Gangs of New York – The new Martin Scorcese movie. Too long, but it has some great scenes, and a terrific performance from Daniel Day-Lewis (my choice for Best Actor). Where a lot of directors seem to be coasting these days, Scorcese still strives for greatness. And it's great to see blood on film again after a long dry spell.
Storytelling – Well, Todd Solondz does it again. Another movie to piss off just about everybody. It's a thought-provoking film, though, consisting of two stories, one about race, political correctness and mind games on a college campus that’s bound to push a lot of people’s buttons, and another about a high school kid who agrees to be in a documentary film about his life (but the real star of the second story is his evil little brother who hypnotizes people to do this bidding). I don't think Solondz can make a movie that doesn't piss off someone, but he sure is good at it. You've got to admire this guy's audacity.
The Two Towers – another 3-hour epic, but it works. Peter Jackson continues making movies about elves and hobbits that even appeal to people who hate elves and hobbits. This, the second in the Lord of the Rings trilogy, brings Tolkein’s vision to film in a big way and establishes Jackson as the current king of sf/fantasy blockbusters. And Gollum is the first CGI character who doesn’t suck. In fact, he might be the most compelling character in this film.
Secretary - S&M for the mainstream crowd. Maggie Gyllenhaal, who likes to cut herself in times of stress, goes to work for secretly sadistic lawyer James Spader. It sounds very dark, but it's actually funny and warm at the same time, too. Not sure how they pulled that off. Except for a time toward the end where it gets a little too absurd, the movie maintains a pretty good tone throughout, and pulls off a difficult tight wire act. And Gyllenhaal emerges as an, at first, unlikely sex symbol.
Spider-Man - I know. It was a big mainstream hit, it was totally Hollywood glitz, and it was pretty sappy in parts. And man, that stiff Green Goblin mask sucked. But Sam Raimi did a great job directing it, and Tobey Maguire was just about perfect as Peter Parker. Until Ang Lee (hopefully) blows us away with the Incredible Hulk movie next year, this is the new standard against which all future superhero movies will be compared. And despite some hokiness, it was just damn fun.
Bowling for Columbine – Love him or hate him, Michael Moore continues his reign as the most provocative documentary filmmaker working today. This examination of America’s love affair with guns is fascinating, informative, and a lot of fun. Who says documentaries have to be stodgy affairs?
Red Dragon - I actually thought this was a superior version of the story earlier done as Manhunter. A perfect cast and nice pacing that really swept you up into the story. Edward Norton seemed a bit miscast at first, but he’s such a good actor, you easily forget about it.
The Ring – The remake of the Japanese mega-hit. This is a weird rollercoaster ride that most people will either love or hate. I thought the original Japanese version was a little better (and eerier), mostly because it didn’t try to explain everything, but the American version is a breath of fresh air compared to other recent Hollywood horror movies. Surreal horror has arrived! And Naomi Watts in the lead was a stroke of genius. This is no Mulholland Drive, but Watts proves she can carry a film by herself, and that her performance in Lynch’s film last year wasn’t a fluke.
Road to Perdition – Flawed and slow-moving at times, I have a special appeciation of this film mainly because it is so damn bleak - always a good thing in my book. I’m not a particularly big Tom Hanks fan, but with movies like this (and the terrific Green Mile), he proves that he’s got a lot of range, and isn’t afraid to take risks. And Jude Law steals the screen every time he’s on it.
Of course, there are movies I haven’t had a chance to see yet that sound really good. Some titles that spring to mind include: Adaptation, About Schmidt, Spirited Away, The 25th Hour, and The Hours, just to name a few. If I do eventually see some of these, I’ll write about it here.
Next Up: BEST CD's OF 2002
