This is last second, but I thought I'd post my picks for tonight's Oscar ceremony before I went off to the Oscar party. So, here they are:
Best Picture: No Country For Old Men
Best Actor: Daniel Day-Lewis (There Will Be Blood)
Best Actress: Julie Christie (Away From Her)
Best Supporting Actor: Javier Bordem (No Country For Old Men)
Best Supporting Actress: Cate Blanchett (I'm Not There)
Best Original Screenplay: Diablo Cody (Juno)
Best Adapted Screenplay: Joel and Ethan Coen (No Country For Old Men)
Best Directing: Paul Thomas Anderson (There Will Be Blood)
I certainly don't agree with some of these, but Academy politics dictate that these will be the winners.
Here, in my opinion are the should-be winners:
Best Picture: There Will Be Blood
Best Actor: Daniel Day-Lewis (There Will Be Blood)
Best Actress: Laura Linney (The Savages)
Best Supporting Actor: Javier Bordem (No Country For Old Men)
Best Supporting Actress: Cate Blanchett (I'm Not There)
Best Original Screenplay: Tamara Jenkins (The Savages)
Best Adapted Screenplay: Christopher Hampton (Atonement)
Best Directing: I honestly don't know who was a better director this year, Joe Wright, who wasn't even nominated for Atonement, or Paul Thomas Anderson with There Will Be Blood.
Sunday, February 24, 2008
Monday, February 18, 2008
Oh my
If you choose to watch the video below, just be warned, it's sad.
Parts of me like to think that this is part of a movie because this couldn't really exist right?
Other parts of me think, this isn't really what I watch at 5 in the morning for entertainment, right?
Parts of me like to think that this is part of a movie because this couldn't really exist right?
Other parts of me think, this isn't really what I watch at 5 in the morning for entertainment, right?
Saturday, February 16, 2008
Tuesday, February 12, 2008
Damn the Man
I'm not even really sure I have a subject for a blog here. I was hoping to bitch about school, but it just sounds so whiny and self-indulgent. I am however facing a peculiar problem in my film class. I chose the class because it's title, 'Writing About Film and Theater.' Film is something I'm definitely interested in. Obsessed really. So much so, I find the lines blur sometimes between real life and reality. Is this healthy? Probably not.
I also enjoy writing about films. I don't know why. It doesn't matter. Either way this class made perfect sense. I knew it would be intensive, being an honors 300 level course, but I'm up to it, I review at least a movie a week on my own volition, so why not get a grade for it?
Here lies the problematic situation though. I've never wanted to be so involved in the learning process before. I actually want to be an over-achiever. Going to class is/was exciting. However, despite my best efforts made in class and out, I'm thwarted time and time again by my professor.
After a month of not writing anything, not watching any movies, or patronizing the theater, I finally submitted to my professor some reviews I did on my own. I asked not that they be graded, just that she make some comments on my voice, style and reviewing capabilities. She never responded to this e-mail. After trying to discuss it with her in class, I received some sort of non-committal brush off and still, there's no response.
I had a question about some of our assignments, how I could do them, what ways would be best, she never responded to my e-mail or voicemail.
What am I supposed to do about this? I actually want to acquire knowledge and I'm getting shut down. I've finally decided to stop asking questions, stop trying to be an active participant and do whatever is asked of me through the syllabus. This actually is kind of a buzz kill, making this class feel like some sort of general ed like physical science. And who's fault is it? I honestly don't know. Maybe it's me, maybe I'm going about things wrong. Maybe the professor just has trouble communicating with me, maybe I'm just meant to stop bitching about it.
We finally had our first assignment over the weekend. We were to attend BYU's latest production of A Midsummer Night's Dream, and write a two to three page review of the performance. The play was ridiculous. I had to sit through three hours of slap-stick physical comedy that even John Heder would be ashamed off, not to mention break-dancing fairies, more than obvious racist tones of the play, and actors that turned Shakespeare's iambic pentamenter into this sing song-y children's nursery rhyme recitation. Even though I know my professor thought 'it worked in a lot of ways,' I made my opinions known in my review. It will be interesting to see if I'm graded on my ability to write, or on my abilities to agree with the professor.
I also enjoy writing about films. I don't know why. It doesn't matter. Either way this class made perfect sense. I knew it would be intensive, being an honors 300 level course, but I'm up to it, I review at least a movie a week on my own volition, so why not get a grade for it?
Here lies the problematic situation though. I've never wanted to be so involved in the learning process before. I actually want to be an over-achiever. Going to class is/was exciting. However, despite my best efforts made in class and out, I'm thwarted time and time again by my professor.
After a month of not writing anything, not watching any movies, or patronizing the theater, I finally submitted to my professor some reviews I did on my own. I asked not that they be graded, just that she make some comments on my voice, style and reviewing capabilities. She never responded to this e-mail. After trying to discuss it with her in class, I received some sort of non-committal brush off and still, there's no response.
I had a question about some of our assignments, how I could do them, what ways would be best, she never responded to my e-mail or voicemail.
What am I supposed to do about this? I actually want to acquire knowledge and I'm getting shut down. I've finally decided to stop asking questions, stop trying to be an active participant and do whatever is asked of me through the syllabus. This actually is kind of a buzz kill, making this class feel like some sort of general ed like physical science. And who's fault is it? I honestly don't know. Maybe it's me, maybe I'm going about things wrong. Maybe the professor just has trouble communicating with me, maybe I'm just meant to stop bitching about it.
We finally had our first assignment over the weekend. We were to attend BYU's latest production of A Midsummer Night's Dream, and write a two to three page review of the performance. The play was ridiculous. I had to sit through three hours of slap-stick physical comedy that even John Heder would be ashamed off, not to mention break-dancing fairies, more than obvious racist tones of the play, and actors that turned Shakespeare's iambic pentamenter into this sing song-y children's nursery rhyme recitation. Even though I know my professor thought 'it worked in a lot of ways,' I made my opinions known in my review. It will be interesting to see if I'm graded on my ability to write, or on my abilities to agree with the professor.
Monday, February 4, 2008
Too Little Too Late
Sundance has been over for a week now. I went through this weird withdrawal/movie fatigue phase after it was all done. I was confused when I'd get up for the day, or after I'd get off work and there was no direction for me. I wasn't supposed to hop in my truck and drive to the mountains to see movies. I had nothing to do. Well that's how I felt anyway. I eventually found other things to do. I rediscovered 'Celebrity Rehab,' 'I Love New York' and various other VH1 productions. I did a little homework and I even started reading for pleasure.
I ended up seeing eight movies, all of varying degrees of quality. I think I've waited too long to write anything coherent about the films and I'm debating whether to even try.
First was Michael Haneke's remake 'Funny Games.' It was disturbing. Horrifying. The acting was brilliant. But I quickly remembered why the original had made such an impact on me: it's one giant slap in the face for seeking violence as entertainment. And as well made as it was, and as effective as it was as a social commentary, it's not a fun watch. The only disappointment I took with me as I left the theater is that the movie was a carbon copy of the Austrian version. The same shots, the same script, same soundtrack. I'm not sure what I was expecting. Maybe Haneke was completely satisified and felt no need to change. I guess I expected him to use the past ten years to some how build on his ideas or maybe I expected a change of opinion. Who knows? I've posted the trailer's at the end of this blog of both the Austrian and American versions. That terrifying, feral, howling song by John Zorn and Naked City that can be heard in the Austrian trailer is also heard in the American version. It's a shame they didn't use it in the trailer.
The truly disturbing element of the movie is how Haneke makes the viewer feel complicit with the 'bad guys' that terrorize the victim family. Although the majority of violence takes place off the screen, Haneke focuses the camera on the reactions of the nearby family members that are forced to watch which takes violences out of it's glamourous video game mode and turns on the humanity. What actually made me disgusted and angered in the film is this: at the points in the movie that are truly the most hopeless and sadistic, the parts that really make you feel deseperation, the audience surrounding me laughed. In one particular scene, immediately after the mother and father of the family watched their son murdered, the mom gets ready to go for help (the father was crippled by the villians). The father sobs uncontrollably and askes his wife to forgive him for not being able to protect 'his family. Heartbreaking, yeah? The other Sundancers thought this was hilarious. Haneke's point was that society has turned into this weird, soulless, entertainment whore that feeds off violence as entertainment and even worse, no one seems to feel that there's anything wrong with this. Towards the end of the film, the mother asked why the boys won't just kill them and end this, to which they answer: You mustn't forgot the importance of entertainment. In the Austrian version of the same scene, the boy answers, 'We haven't reached the length of a feature film yet!' Some may feel that this opinion is unjustified, but I was one hundred percent convinced that this is true as I saw people eating their Milk Duds and laughing at the torture and murder of an innocent family.
So, there are seven more, but I don't think I can invest the time, and I think it's probably boring to read about anyway. However, two other movies definitely deserve mention: Alan Ball's 'Towelhead,' and Clark Greg's 'Choke.' Both have been purchased, so I'm sure everyone will have the opportunities to see them. Be warned, they'll both probably have to have things cut out of them to keep an R rating.
Well, as bitchin' as this is, The Flavor of Love is on.
Oh, and New Kids on The Block are back together. They have a new album coming out.
I ended up seeing eight movies, all of varying degrees of quality. I think I've waited too long to write anything coherent about the films and I'm debating whether to even try.
First was Michael Haneke's remake 'Funny Games.' It was disturbing. Horrifying. The acting was brilliant. But I quickly remembered why the original had made such an impact on me: it's one giant slap in the face for seeking violence as entertainment. And as well made as it was, and as effective as it was as a social commentary, it's not a fun watch. The only disappointment I took with me as I left the theater is that the movie was a carbon copy of the Austrian version. The same shots, the same script, same soundtrack. I'm not sure what I was expecting. Maybe Haneke was completely satisified and felt no need to change. I guess I expected him to use the past ten years to some how build on his ideas or maybe I expected a change of opinion. Who knows? I've posted the trailer's at the end of this blog of both the Austrian and American versions. That terrifying, feral, howling song by John Zorn and Naked City that can be heard in the Austrian trailer is also heard in the American version. It's a shame they didn't use it in the trailer.
The truly disturbing element of the movie is how Haneke makes the viewer feel complicit with the 'bad guys' that terrorize the victim family. Although the majority of violence takes place off the screen, Haneke focuses the camera on the reactions of the nearby family members that are forced to watch which takes violences out of it's glamourous video game mode and turns on the humanity. What actually made me disgusted and angered in the film is this: at the points in the movie that are truly the most hopeless and sadistic, the parts that really make you feel deseperation, the audience surrounding me laughed. In one particular scene, immediately after the mother and father of the family watched their son murdered, the mom gets ready to go for help (the father was crippled by the villians). The father sobs uncontrollably and askes his wife to forgive him for not being able to protect 'his family. Heartbreaking, yeah? The other Sundancers thought this was hilarious. Haneke's point was that society has turned into this weird, soulless, entertainment whore that feeds off violence as entertainment and even worse, no one seems to feel that there's anything wrong with this. Towards the end of the film, the mother asked why the boys won't just kill them and end this, to which they answer: You mustn't forgot the importance of entertainment. In the Austrian version of the same scene, the boy answers, 'We haven't reached the length of a feature film yet!' Some may feel that this opinion is unjustified, but I was one hundred percent convinced that this is true as I saw people eating their Milk Duds and laughing at the torture and murder of an innocent family.
So, there are seven more, but I don't think I can invest the time, and I think it's probably boring to read about anyway. However, two other movies definitely deserve mention: Alan Ball's 'Towelhead,' and Clark Greg's 'Choke.' Both have been purchased, so I'm sure everyone will have the opportunities to see them. Be warned, they'll both probably have to have things cut out of them to keep an R rating.
Well, as bitchin' as this is, The Flavor of Love is on.
Oh, and New Kids on The Block are back together. They have a new album coming out.
Thursday, January 17, 2008
Atonement
Joe Wright cemented his place as a new, seriously talented director with his latest film, 'Atonement.' Having already made some noise with his first film (the generally well received adaptation of 'Pride and Prejudice (2005)') Wright continues to bring history to the screen. 'Atonement' was a greater challenge, requiring vast amounts of skill to do justice to Ian McEwan's 2001 novel.
The movie spans several decades and moods. Three distinct time periods tell the story of Cecilia Tallis (Keira Knightley), her little sister Briony (played by three separate actresses) and Robbie Turner (James McAvoy). The story follows these three as their lives take place in the 1930's upper-crust home of the Tallis' where Robbie is Cambridge-educated son of the groundskeeper, and through the devastation of WWII in France.
The film opens before the war, at the palatial estate of the Tallis family. Cecilia has been fighting her attraction to Robbie, the son of the Tallis' grounds keeper, for years and Briony has her own school girl crush on him. The sexual tension between Robbie and Cecilia is palpable.
On a momentous day, with the 'clarity of passion,' Cecilia and Robbie finally act on their sexual attraction to each other due to a farcical miscommunication. This act is witnessed, but not understood by 13 year old Briony who misinterprets the act as something violent committed by a sex maniac. Another tragic event that evening, the rape of a cousin, forces Briony to accuse Robbie of these things which places his future in jeopardy.
The film then jumps ahead to 1939. Robbie is an ex-con fighting in the army in lieu of sitting in jail. Cecilia has become a nurse for the war effort and is now completely estranged with the her family who prefer keeping the untidiness of that fateful night tucked in the past, rather than revisiting it to learn the truth. It's during this time that Robbie and Cecilia have one, fleeting encounter in London before Robbie reports for duty. In a scene that will surely stick in the minds of viewers long after the credits stop rolling, the two reunite with few words, but acting that screams volumes. In an obvious attempt at penance, Briony has also become a nurse, deserting her place at Cambridge. Now 18, she has come to grasp what she has done to Robbie and her sister and seeks to make atonement for the ruined lives she caused.
Scriptwriters faced quite the task of taking McEwan's sprawling and complex tale and turning it into just over two hours running time. Yet, the feel of the film isn't rushed. All the elements work together to create what can only be considered an instant classic, a masterpiece, and an obvious favorite for this year's award season. The moving and emotional original score by Dario Marianelli ('V for Vendetta,' 'Pride and Prejudice') works hand in hand with Wright's vision for the film, adding to the splendor of the 1930s privileged life in the upper class and underscoring the devastation of war, death, and love lost.
The art direction alone is prime example of cinematography as art, pay attention Oscar. In perhaps the films finest moment, a single camera shot of over 5 minutes follows Robbie on a beach in the city of Dunkirk as 300,000 British soldiers await evacuation. Wright uses the shot to sum up a scene that must have taken thousands of words in the novel, to show the horrific reality of war. The camera weaves and darts and just when you think it will cut to the next shot, it stays with Robbie as he wanders past crumbling buildings, a singing choir, and euthanized show horses.
Even though each individual element of the film is fantastic (scriptwriting, directing, acting, etc.) the film is somehow more than sum of it's parts. Even with all the talent that went into this film, it wouldn't have been the masterpiece it is if Wright had forgotten the simple power of McEwan's words. One can't help but get excited about this new comer and his newest film-as-art. This is not your father's period piece, and 'Atonement' is something no one will soon forget.
The movie spans several decades and moods. Three distinct time periods tell the story of Cecilia Tallis (Keira Knightley), her little sister Briony (played by three separate actresses) and Robbie Turner (James McAvoy). The story follows these three as their lives take place in the 1930's upper-crust home of the Tallis' where Robbie is Cambridge-educated son of the groundskeeper, and through the devastation of WWII in France.
The film opens before the war, at the palatial estate of the Tallis family. Cecilia has been fighting her attraction to Robbie, the son of the Tallis' grounds keeper, for years and Briony has her own school girl crush on him. The sexual tension between Robbie and Cecilia is palpable.
On a momentous day, with the 'clarity of passion,' Cecilia and Robbie finally act on their sexual attraction to each other due to a farcical miscommunication. This act is witnessed, but not understood by 13 year old Briony who misinterprets the act as something violent committed by a sex maniac. Another tragic event that evening, the rape of a cousin, forces Briony to accuse Robbie of these things which places his future in jeopardy.
The film then jumps ahead to 1939. Robbie is an ex-con fighting in the army in lieu of sitting in jail. Cecilia has become a nurse for the war effort and is now completely estranged with the her family who prefer keeping the untidiness of that fateful night tucked in the past, rather than revisiting it to learn the truth. It's during this time that Robbie and Cecilia have one, fleeting encounter in London before Robbie reports for duty. In a scene that will surely stick in the minds of viewers long after the credits stop rolling, the two reunite with few words, but acting that screams volumes. In an obvious attempt at penance, Briony has also become a nurse, deserting her place at Cambridge. Now 18, she has come to grasp what she has done to Robbie and her sister and seeks to make atonement for the ruined lives she caused.
Scriptwriters faced quite the task of taking McEwan's sprawling and complex tale and turning it into just over two hours running time. Yet, the feel of the film isn't rushed. All the elements work together to create what can only be considered an instant classic, a masterpiece, and an obvious favorite for this year's award season. The moving and emotional original score by Dario Marianelli ('V for Vendetta,' 'Pride and Prejudice') works hand in hand with Wright's vision for the film, adding to the splendor of the 1930s privileged life in the upper class and underscoring the devastation of war, death, and love lost.
The art direction alone is prime example of cinematography as art, pay attention Oscar. In perhaps the films finest moment, a single camera shot of over 5 minutes follows Robbie on a beach in the city of Dunkirk as 300,000 British soldiers await evacuation. Wright uses the shot to sum up a scene that must have taken thousands of words in the novel, to show the horrific reality of war. The camera weaves and darts and just when you think it will cut to the next shot, it stays with Robbie as he wanders past crumbling buildings, a singing choir, and euthanized show horses.
Even though each individual element of the film is fantastic (scriptwriting, directing, acting, etc.) the film is somehow more than sum of it's parts. Even with all the talent that went into this film, it wouldn't have been the masterpiece it is if Wright had forgotten the simple power of McEwan's words. One can't help but get excited about this new comer and his newest film-as-art. This is not your father's period piece, and 'Atonement' is something no one will soon forget.
Tuesday, January 15, 2008
Countdown to Sundance
There's only three days until Sundance 2008 officially opens it's doors. Well, 4 days for us schmucks who couldn't cough up the $4,000 for carte blanc packages that would actually allow the attendance of opening day events. But who cares! It's time to Sundance.
The previous few years have consistently delivered completely satisfying experiences that left me hungry for the next year of experimental art film.
I'll be seeing six film this year. Some I've awaited with great anticipation, some are risky choices based on plot summaries, directors and actors, and others were chosen on a whim as I waited in line to buy these tickets.
Of the six films I'll be attending, I'm most excited about two. First is Michael Haneke's remake of his own 1997 Austrian film, 'Funny Games.' An alarming film about the glorification of on-screen violence. The cast (starring Tim Roth, Naomi Watts and Michael Pitt) encourages one to hope for on-screen magic as a home invasion turns into something more sadistic and a family is forced to play 'funny games' throughout the night with the hope of surviving.
The second film is 'Choke.' Directed by Clark Gregg (his directorial debut) this adaptation of the Chuck Palahniuk novel follows Victor Mancini (Sam Rockwell) as he schemes and cons to support his deranged mother in an expensive private mental hospital. As always, Palahniuk explores the darker side of life. Hopefully, the other works of Palahniuk translate to the big screen as well as 'Fight Club.'
The other screenings I'll be attending include Alan Ball's feature-length directorial debut of 'Towelhead,' starring Aaron Eckhart and Toni Collette, George A. Romero's 'Diary of the Dead,' (who can help but go see a zombie movie directed by the Romero?), Tom Kalin's Savage Grace (Julianne Moore and Stephen Dillane), and finally, 'Ballast,' directed by Lance Hammer.
Hopefully, this year's experience will outshine the last few years were I discovered 'The Descent,' 'Black Snake Moan,' and 'The Illusionist' among others.
Pictures and stories will follow.
The previous few years have consistently delivered completely satisfying experiences that left me hungry for the next year of experimental art film.
I'll be seeing six film this year. Some I've awaited with great anticipation, some are risky choices based on plot summaries, directors and actors, and others were chosen on a whim as I waited in line to buy these tickets.
Of the six films I'll be attending, I'm most excited about two. First is Michael Haneke's remake of his own 1997 Austrian film, 'Funny Games.' An alarming film about the glorification of on-screen violence. The cast (starring Tim Roth, Naomi Watts and Michael Pitt) encourages one to hope for on-screen magic as a home invasion turns into something more sadistic and a family is forced to play 'funny games' throughout the night with the hope of surviving.
The second film is 'Choke.' Directed by Clark Gregg (his directorial debut) this adaptation of the Chuck Palahniuk novel follows Victor Mancini (Sam Rockwell) as he schemes and cons to support his deranged mother in an expensive private mental hospital. As always, Palahniuk explores the darker side of life. Hopefully, the other works of Palahniuk translate to the big screen as well as 'Fight Club.'
The other screenings I'll be attending include Alan Ball's feature-length directorial debut of 'Towelhead,' starring Aaron Eckhart and Toni Collette, George A. Romero's 'Diary of the Dead,' (who can help but go see a zombie movie directed by the Romero?), Tom Kalin's Savage Grace (Julianne Moore and Stephen Dillane), and finally, 'Ballast,' directed by Lance Hammer.
Hopefully, this year's experience will outshine the last few years were I discovered 'The Descent,' 'Black Snake Moan,' and 'The Illusionist' among others.
Pictures and stories will follow.
Thursday, January 10, 2008
Aspen Ridge Managment's Redemption and 'Margot at the Wedding'
I seriously edited my last blog and for good reason. As you can tell, I don't update my blog anymore so I forget about what I've written. Well, I seriously bagged on Aspen Ridge Management and Brookview Apartments in my most recent blog.
The thing is, later the day I wrote the blog, I worked through e-mail with a woman named Hilary. I'm not sure what her position is with the company, but she's the one constantly answering my e-mails even on weekends and after hours. I wrote what I thought was a calm, temper-free e-mail (although I'm definitely biased) explaining my concerns and how I felt it was simply not fair what happened in my apartment. Based on recommendations from BYU, I wrote an e-mail requesting specific...recompense? Compensation? Is that the right word?
Anyway, Hilary wrote me back almost immediately explaining why certain things happened the way they did (which was actually understandable and made me feel like a dick because I may have, just maybe overreacted). She was completely kind, not at all on the defensive or offensive. She just responded to my request.
I left part of deciding how to work things out up to her discretion. I expected to receive a portion of what I wanted, but she responded with a much more generous offer than the things I asked for.
Never have I actually had a landlord/management company that is so accommodating, reasonable, and willing to do anything in it's power to keep their tenants happy.
I now feel quite bad about ragging on Aspen Ridge in my blog because it was a completely unfair representation of their management style and their go-the-extra-mile customer service. So just know, if you ever live in one of the complexes managed by Aspen Ridge, you will be in good hands. I will definitely live under their management again. You can put money on that.
In other news. Noah Baumbach's latest film, 'Margot at the Wedding' was truly inspiring. As somewhat of an experimental film, the movie does not follow a specific plot line but allows the incredibly well developed characters to take us where they may.
The film follows a family of intelligentsia on the East coast who can't help but manipulate and hurt each other. The best part is, they're smart enough to know what they're doing. The characters are so real, you can see at least a part of the worst of them in yourself. It's a hilarious, yet uncomfortable film to watch. Baumbach is truly one of the more gifted young directors of our generation.
The thing is, later the day I wrote the blog, I worked through e-mail with a woman named Hilary. I'm not sure what her position is with the company, but she's the one constantly answering my e-mails even on weekends and after hours. I wrote what I thought was a calm, temper-free e-mail (although I'm definitely biased) explaining my concerns and how I felt it was simply not fair what happened in my apartment. Based on recommendations from BYU, I wrote an e-mail requesting specific...recompense? Compensation? Is that the right word?
Anyway, Hilary wrote me back almost immediately explaining why certain things happened the way they did (which was actually understandable and made me feel like a dick because I may have, just maybe overreacted). She was completely kind, not at all on the defensive or offensive. She just responded to my request.
I left part of deciding how to work things out up to her discretion. I expected to receive a portion of what I wanted, but she responded with a much more generous offer than the things I asked for.
Never have I actually had a landlord/management company that is so accommodating, reasonable, and willing to do anything in it's power to keep their tenants happy.
I now feel quite bad about ragging on Aspen Ridge in my blog because it was a completely unfair representation of their management style and their go-the-extra-mile customer service. So just know, if you ever live in one of the complexes managed by Aspen Ridge, you will be in good hands. I will definitely live under their management again. You can put money on that.
In other news. Noah Baumbach's latest film, 'Margot at the Wedding' was truly inspiring. As somewhat of an experimental film, the movie does not follow a specific plot line but allows the incredibly well developed characters to take us where they may.
The film follows a family of intelligentsia on the East coast who can't help but manipulate and hurt each other. The best part is, they're smart enough to know what they're doing. The characters are so real, you can see at least a part of the worst of them in yourself. It's a hilarious, yet uncomfortable film to watch. Baumbach is truly one of the more gifted young directors of our generation.
Friday, January 4, 2008
Long time no blog...
It's been a while since my last blog. A long while.
Although a lot of things have happened that are worth writing, I just haven't gathered the motivation to do it.
For instance, I saw Bjork perform in Las Vegas. It was life changed. I found out there are other pople like me out there.
Christmas came and went. So did New Years.
I spent Christmas in Idaho with the family. The gifts were great and so was the company. My bro-in-law and I got to spend some quality time saving the world from the Umbrella Corporation in Resident Evil 4. I really feel like I used my free time during the holiday break to accomplish something great.
I received the Radiohead In Rainbow's discbox set from my mom for Christmas. It included two 12 inch vinyl albums. It's awesome and collectible, but really...what am I supposed to do with them? Buy a record player?
The discbox included a second cd aptly titled In Rainbows [Disc 2]. It's pure musical magic that hasn't stopped playing on my iPod since I got it.
Although a lot of things have happened that are worth writing, I just haven't gathered the motivation to do it.
For instance, I saw Bjork perform in Las Vegas. It was life changed. I found out there are other pople like me out there.
Christmas came and went. So did New Years.
I spent Christmas in Idaho with the family. The gifts were great and so was the company. My bro-in-law and I got to spend some quality time saving the world from the Umbrella Corporation in Resident Evil 4. I really feel like I used my free time during the holiday break to accomplish something great.
I received the Radiohead In Rainbow's discbox set from my mom for Christmas. It included two 12 inch vinyl albums. It's awesome and collectible, but really...what am I supposed to do with them? Buy a record player?
The discbox included a second cd aptly titled In Rainbows [Disc 2]. It's pure musical magic that hasn't stopped playing on my iPod since I got it.
Thursday, November 22, 2007
No Country for Old Awesome
I went and saw the Cohen brothers' "No Country for Old Men" tonight. It was seriously awesome. I happen to be in Portland right now and since I've never been to an art house theater that wasn't located at 300 S. and 300 E. in Salt Lake, I thought it'd be cool to visit one here.
Although I had an enjoyable time, I must admit, I noticed several differences in movie watching etiquette between the two states.
The theater wasn't that large, but it was almost full. I would guess that another hundred people decided to attend the same viewing that my cousin and I attended. During the time between the end of the previews and the beginning of the ending credits, I was able to hear 7 different ring tones from seven individuals.
This isn't that big of a deal, it's just a big change from the things I'm used to back in the beehive state. To these Oregonians' credit, not one of them answered the call to say, 'Dude, I'm in a movie, what do you need?'
There was a couple sitting directly behind me and my cousin. The violence in this awesome movie came as quite a shock to these two, despite the MPAA's clear warning that the movie is rated R for 'strong graphic violence.' Several murders are witnessed in the first few minutes of the movie and each time a shot was fired or blood splattered, the girl behind us would cry loudly, 'No, baby, NO!' And her man-friend would hiss, 'What the f@#% is this s$%t?' Two animal killings, 3 counts of manslaughters and 10 corpses later, the man-friend had had enough and they got up to leave.
All movie-going observances aside, 'No Country for Old Men' is darker, weirder and funnier than 'Fargo.' Go see this movie. It's definitely a career high for the Cohen brothers. Well done Joel. Well done Ethan.
Although I had an enjoyable time, I must admit, I noticed several differences in movie watching etiquette between the two states.
The theater wasn't that large, but it was almost full. I would guess that another hundred people decided to attend the same viewing that my cousin and I attended. During the time between the end of the previews and the beginning of the ending credits, I was able to hear 7 different ring tones from seven individuals.
This isn't that big of a deal, it's just a big change from the things I'm used to back in the beehive state. To these Oregonians' credit, not one of them answered the call to say, 'Dude, I'm in a movie, what do you need?'
There was a couple sitting directly behind me and my cousin. The violence in this awesome movie came as quite a shock to these two, despite the MPAA's clear warning that the movie is rated R for 'strong graphic violence.' Several murders are witnessed in the first few minutes of the movie and each time a shot was fired or blood splattered, the girl behind us would cry loudly, 'No, baby, NO!' And her man-friend would hiss, 'What the f@#% is this s$%t?' Two animal killings, 3 counts of manslaughters and 10 corpses later, the man-friend had had enough and they got up to leave.
All movie-going observances aside, 'No Country for Old Men' is darker, weirder and funnier than 'Fargo.' Go see this movie. It's definitely a career high for the Cohen brothers. Well done Joel. Well done Ethan.
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