Dirty Laundry

Recently, news has surfaced that Sacha Baron Cohen's next film BRUNO has been hit with an NC-17 rating in America. Colour me shocked.

Baron Cohen, you must remember, is the face and brains behind Borat. Bruno is another one of his characters, a flamboyantly gay TV style reporter who hooks unsuspecting interviewees into all sorts of foolishness in much the same way Borat would. Basically put a mic in front of someone, start entering completely off-handed remarks, and let them dig their own hole.

The reason for the NC-17 rating stems back to an excess of sexual content (say it ain't so!). At the moment, that's the only details available.

On the one hand, I'd say leave it be and take the NC-17...but that carries with it a whole bagful of consequences - namely diminished exposure. Theatre chains don't schedule too many screens for NC-17 films, Blockbuster won't carry them for rent, and Wal-Mart won't carry them for sale. If you're thinking "Damn the torpedoes! It's art, stand up and say what you want!" I'm with you. Unfortunately, we must also remember that it's a business, and at the moment an NC-17 rating is a black ball for the business.

On the other hand, I can't argue with an NC-17 for the sort of movie I envision BRUNO being. BRUNO, and by extension BORAT, are movies that are by no means suitable for kids...and even a good handful of immature teenagers. There's nothing wrong with them for adults, they just don't contain the sort of material I'd want kids repeating out of context.

What say you fine folks? Should Baron Cohen's BRUNO take the NC-17? Should it edit content out and aim for an R? Or should someone pull a Kevin Smith and try to argue their way out of the rating like Kevin Smith did for ZACK AND MIRI MAKE A PORNO?

Let's Hear It For The Boy

Yes, that's right. I just used a song by Deniece Williams for my post title. Make of that what you will.

Recently, news broke that tween idol Zac Efron has dropped out/been cut from the upcoming remake of FOOTLOOSE. I was actually quite happy to hear this news.

For starters, while Paramount are adamant that they are still going ahead with the production, ya gotta believe that this loss of star power just threw a serious wrench into the gears. It's possible that they might think outside the box and try to cast a relative unknown in the lead (which worked pretty darned well for the original), but if I was a Jonas Brother, I might anticipate a call.

One can only hope that this re-hash gets shelved now that Efron has bailed. Moviegoers have already suffered through too many poor-imitation remakes (I'm looking at you PROM NIGHT).

Another reason that I'm happy to hear this news, is because it gives me hope that young Hollywood might actually start trying to broaden their range. While he won't generate any Oscar buzz, Efron is pretty good in the yet-to-be-released ME AND ORSON WELLES. Is it possible that his work with a director like Richard Linklater plated a seed of ambition in his shaggy-haired-brain?

Is it possible that he may indeed want to leave his days of singin' and dancin' behind and attempt a bigger challenge?

Time will tell. Now if you'll excuse me, I'm off to cue Bonnie Tyler up on my iPod and sleep peacefully with the knowledge that at least one Hollywood remake is less of a reality.

Wild Nights (WHERE THE WILD THINGS ARE Trailer!!!!)

Oh...my...sweet...Lord!!!!

Funny Little Frog (FUNNY PEOPLE Trailer)

A funny little thing happened when I sat down to write my last review: I realized I was mislead. I'll admit that I put my brain on autopilot, and believed I LOVE YOU, MAN to be the latest Judd Apatow-approved movie. A glance at iMDB, and I realized it wasn't so!

It may have featured one or two of his usual go-to-guys, but he had jack squat to do with it.

This summer's FUNNY PEOPLE however...not only Apatow-approved, but Apatow directed. Enjoy!

Brother Down (Top Five Bromance Movies)

So while many of my fellow moviegoers spent their time and money propelling Nicolas Cage to an inexplicable box office win, my bride-to-be and I opted for the quite amusing I LOVE YOU, MAN. The film celebrates a phenomenon that has been around for ages, though it only now has a name: The Bromance.

While I LOVE YOU, MAN might have been the first movie to deliberately play up a bromance, it's far from the first one to have a bromance at the core of the story. So boys, the next time you make plans for a man-date, or settle your differences by "hugging it out", remember - you are part of cinematic tradition.

Hatter's Top Five Movie Bromances

#5. GOOD WILL HUNTING (1997)... While he becomes quite close to his shrink in a manly way, that relationship is still on the doctor/patient, or even father/son end of the spectrum. But for true bromantic guy love, look no further than Will's best friend Chuckie, naturally played by Damon's real-life best friend Ben Affleck. They laugh, they drink, they get each others back when things go south in a bar. Sure, Will chases after Minnie Driver in the end, but who amoung us didn't get a little misty when he left his true love Chuckie behind without so much as a note?

#4. WAYNE'S WORLD (1991)... OK, technically this is a cheat, since this relationship blossomed on late night TV. But take a look at that photo I've posted and tell me how I could possibly leave this classic bromance out? Wayne and Garth share a certain type of kinship; the sort built out of consistently being the last two guys picked in the schoolyard. So strong is their bond, that neither Tia Carrera, nor Lara Flyn Boyle, nor Kim Bassinger can come between them. Only the very rarest bonds can withstand such temptresses. Bonds built on Queen cassettes, donut shops, and road hockey.

#3. SHAUN OF THE DEAD (2004)... If you are unfamiliar with the glorious bromance that has blossomed between Simon Pegg and Nick Frost, please - log off, rent yourself this film, HOT FUZZ, and the BBC series "Spaced" right now. It takes a true bro to stand beside you and do battle with an entire town full of zombies, and Frost is just that sort of bro. He may not seem like he always has Shaun's best in mind, but when the chips are down, there's no one in the world more important. The lesson here, is when choosing your bromantic partners, it might be worth checking how lethal they are while wielding a cricket bat or a Sade LP. In a lovely touch, the guy-love is rewarded in an act of zombie mercy.

#2. SWINGERS (1996)... Mike and Trey Trent spend 96 madcap minutes in search of the beautiful babies. However, even as Mikey strikes out time after time, it's his closeness with Trey that keeps him going. They were hugging it out long before Vinny ever met Ari, they have enough love left over for an entire bromantic posse, and they make the best pair of wingmen since Maverick met Iceman (who by the way, just missed making this list). It takes a special type of bro to keep trying to help you score despite staggering ineptitude, and Trey is just that sort of bro. This flick is a modern bromance classic, and should be high on your "to-see" list if you've never seen it. If it isn't, you should at least have the courtesy to return my copy of the DVD.

#1. BUTCH CASSIDY AND THE SUNDANCE KID (1969)... The granddaddy of 'em all. The bromance so tight-knit, they'll jump off a cliff together. So easy-going is their kinship, they think nothing of sharing the same woman. Newman and Redford were such tight bros, they didn't even stop at this classic film - instead reuniting just four years later for another classic, THE STING (Hey, Matt and Ben - when can we expect your next classic?). These are bros for all time...the sort of bros the fall alone couldn't kill. They never turned their backs on each other, right down to the bitter end. So when it comes to movie couples, you can keep your Bonnies & Clydes...your Sids & Nancys. I much prefer this classic tale of bromance any day of the week.

Did I miss one? Feel free to leave comments naming your favorite cinematic bromances, along with suggestions for the next top five.

I Know

It seems like I'm wondering this same question aloud on a monthly basis these days, but please forgive me while I ask it again:

Can somebody please tell me how in the world this movie won the weekend?

Maybe I'm just underestimating the general public's thirst for all things Nic Cage.

Review: I LOVE YOU, MAN * * *

For those of you who didn't know, the term bro-mance refers to a close, but non-sexual relationship between two men. Two straight dudes who enjoy each other's company, perhaps too much for the uninitiated. Think Matt and Ben...Brad and George...Bert and Ernie. OK, the jury may be out on last one, but the other two for sure. So, now that we've given the relationship a name, it's time to make a movie about it. Right on cue, I LOVE YOU, MAN is up for becoming the man-date movie of the season.

The story begins by introducing us to Pete and Zooey (Paul Rudd and Rashida Jones). When Paul asks Zooey to marry him, she calls around to her closest friends to celebrate the news. Once it clicks that Pete hasn't called anyone, she asks him how he'll share the news with his friends. It's then that we realize - Paul doesn't have any friends. There are two guys he talks to - one co-worker and one at his fencing club - but neither are what you'd call "wicked-close". Even his father and brother (J.K. Simmons and Andy Sandberg) aren't that close to him...they are pretty fond of each other though.

As Pete realizes that this lack of friends is casting a questioning shadow over his personality, he decides, with Zooey's encouragement, to try and make some new friends. The internet isn't much help. Neither is being set up with strangers who aren't clarified on sexual orientation. At one point Zooey's friend Denise (Jamie Pressly) even tries to get her surly husband Barry (Jon Favreau) to invite Pete to his weekly poker game. I haven't tried to make new friends for a while, but I'm pretty sure beating a guy's-guy at poker and drinking contests won't win you any new bosom companions.

Of course the moment Pete stops trying, he meets Sydney (Jason Segel). Without needing to hear the whole sorry back story, Sydney offers out a hand in friendship, perhaps because it's just his nature. He is easy-going in a way that edges on slacker-dom, but still seems acceptable. He and Pete form a blossoming bro-mance over beer, walks on the boardwalk, and Rush songs. He becomes the buddy Pete has been missing for so long, but does their budding bro-mance have Zooey regretting what she wished for?

I LOVE YOU, MAN is a funny movie, if slightly uneven. It's fitting that the movie wants to shine a light on the concept of a "Bro-mance", since those are the moments that are the funniest and most interesting. When the plot turns its attention back to Pete and Zooey's relationship, the scenes feel dull and pedestrian. Truth be told, I spent much of these scenes waiting for Sydney to show back up...or at the very least for Barry and Denise to return and wreak havoc.

The film is indeed Jason Segel's show, who once again shows he can carry a major motion picture (sidebar: if you aren't watching Segel in TV's "How I Met Your Mother", you're truly missing out). Segel excels at getting laughs by going over the top - such as doing some hard core stage moves to Rush songs, or screaming and flailing like a manic to scare off a fight-instigating bodybuilder. But where Segel is even funnier, is when he's giving polite and understated responses. There's something about the courtesy in his delivery that always strikes a chord. Jokers are supposed to be snide and sarcastic; Segel's jokes have a sincerity which is what makes them so much funnier.

Where the movie works best, is when it shows how ridiculously weird it can get for us as grown adults to make new friends. It's one thing in school to sit down next to someone having lunch in the attempts to make a new friend...do that as an adult, and the person is likely to wonder why you're acting so weird. When that situation happens between guys, the result is that much weirder. The movie plays it for laughs, but Paul's attempts at making new friends from scratch as a thirty-something isn't that far off reality.

One last thing. Last summer's PINEAPPLE EXPRESS sparked a thought for me, and I LOVE YOU, MAN confirmed it - there is precious little more ridiculous than the sight of a grown man wearing Uggs.

In The Movies

I'm pretty sure there is constantly a movie playing in my head, for no other reason than my habit of dropping movie quotes into everyday conversation far too often (further, the movie quotes I drop are often obscure and usually amuse only me).

How bad has it become? This past weekend I took advantage of some cheery spring weather and wandered around Mount Pleasant Cemetery here in Toronto. While soaking in the sunshine and snapping a photo or two of an interesting angel or celtic cross, I happened upon the sundial monument you see above you.

The thing is, for some reason or another, it's off. I stood in front of it at 1:55pm, and the shadow on the sundial was telling me it was almost one o'clock. Immediately my mind went to one of my favorite movies, REBEL WITHOUT A CAUSE. I've always loved the scene where James Dean and Natalie Wood wander around the deserted mansion in the middle of the night. So when I saw the incorrect monument, I immediately wanted to yell out to nobody in particular "Hey, you forgot to wind your sundial!!" and embrace my inner Jim Stark.

In the end, I quietly said it to myself.

Am I alone here people? Do you ever have real life moments that remind you of something in a movie and decide to just run with it??

Fall On Me (TRANSFORMERS 2 Teaser Trailer)

This morning I realized that I hadn't yet posted the teaser trailer for TRANSFORMERS: REVENGE OF THE FALLEN. I had to ask myself why that was?

I do feel that the movie will be silly, much the same way the first film was lousy, but that isn't it. I say that because I feel that there is a place for overblown silly movies...I just wish Hollywood's entire world didn't revolve around them.

I think quite simply, the reason for my current ambivalence is because when it comes to the big tickets, my giddiness has already been spent on Terminator, Star Trek, Wolverine, and Harry Potter. A moviegoer can only handle so many Happy Meals.

So in honour of director Michael Bay bitching that Paramount has scheduled him for the inevitable third film far sooner than he had anticipated. Here's the teaser.

Tune in tomorrow for an entry that isn't dedicated to robot/car hybrids...

Monster (WHERE THE WILD THINGS ARE Poster)

Every once in a while, Hollywood manages to get a poster spot on...

When Irish Eyes Are Smiling (Top Five Irish Films)

I must admit, there's nothing like a holiday that encourages drinking to get the creative juices flowing. While I'm not exactly a second generation Irishman myself, my father's family did indeed come from The Emerald Isle before coming to Canada around the turn of the 20th century, and I've always felt a kinship with that side of my heritage.
So in honour of that wonderful country, I thought I'd celebrate its cinema with today's top five. All of these titles come straight from Ireland, and any of them could provide a decent alternative to a bar rammed full of wannabes drinking green beer (side note: Don't...just don't. No self-respecting Irish would drink green beer).

So crack open a Guinness, serve up the corned beef and cabbage, and read on for...

Hatter's Top Five Irish Films

#5. INTERMISSION (2003)... I'd wager many of you haven't heard of this title, but believe me - it's worth the search. Very funny, with a great rock & roll pace to it, the movie examines both love denied, and low-level thuggery. Let me clarify, when I say "low level", I'm talking about a petty thief named John (Cillian Murphy) who can only muster up enough guts to steal a bottle of brown sauce (or A1 sauce as we'd call it in North America). Full of characters with some odd obsessions, a pretty manic energy, and a kick ass soundtrack, INTERMISSION is a hidden gem.

#4. THE WIND THAT SHAKES THE BARLEY (2006)... Chalk another one up to Cillian Murphy. This time he's playing his part in the story of how Ireland fought for its independence. It's a tale of men and women who were branded as terrorists and traitors, but would eventually be seen as patriots. What will draw you in even further, is when these rebels finally win what they are fighting for. It's then that the division begins, and they no longer fight the enemy...they fight each other. It's one of the best stories of Ireland's struggle for independence...and this one doesn't include Julia Roberts fumbling through a bad Irish accent.

#3. IN THE NAME OF THE FATHER (1993)... The grandaddy of them all. Long before the words "Patriot Act" were a shadow of a thought, The British government passed a law that allowed them to detain, question and torture any suspect they chose for seven days without charge. Such a violation of human rights was what landed petty thief Gerry Conlon in prison. Worse yet, his frail father was imprisoned as an accessory. The movie is worth seeing for the brilliant work of Daniel Day Lewis and Pete Postlethwaite, and the gritty direction by Jim Sheridan. Ireland's history is riddled with stories of injustice - this is one of the biggest.

#2. ONCE (2007)...Not one for fighting, terrorism, and violence? That's OK, The Irish love their music too as evidenced by this simple tail of two people who meet and make beautiful music together. While the movie isn't what anyone would call "quintessentially Irish", it's a wonderful example of the heart of Ireland's lower working class. Filmed entirely on location in Dublin, and featuring one of my favorite songs of the last decade, it has quickly take it's place as one of my all-time favorites. It might well even be my number one, if not for...

#1. THE COMMITMENTS (1991)... As a love letter to music and to The Irish, it's hard to top Alan Parker's modern classic. Based on a witty story by Irish author Roddy Doyle, and containing a cast primarily made up of unknowns, the movie celebrates the lower class Dublin North Siders. You have some of the wittiest dialogue Ireland has ever exported, some of the greatest songs of all time, sung by an actor who is amazingly sixteen-going-on-thirty. And just in case that isn'ty amusing enough for you, you get an Elvis-worshipping Colm Meany! Oh, one last bit of trivia for you. The Commitments' redheaded guitarist on that right-hand side of the photo above? That's Glen Hansaard from ONCE.

Did I miss one? Feel free to leave comments naming your favorite Irish films, along with suggestions for the next top five.

Tea for the Tillerman: HAPPY-GO-LUCKY * * 1/2

Chances are you've met someone like Poppy in your life. She's the customer in the coffee shop who talks to everybody in line, the people who'd much rather keep to themselves and make their order. She's the guy on the subway who wants to tell you about a weird occurrence he just witnessed, when you'd much rather just sink into your seat and read your book. Poppy is a person who is outgoing to the fourteenth power...and really, what's wrong with that?

HAPPY-GO-LUCKY is a character study. There is a plot, but really it's all about following Poppy around on her day-to-day for a few weeks. She leads a cheery, if unspectacular life. She finds great joy in simple pleasures like going to dance class, hanging out with her flatmate, and jumping on a trampoline. She's as sunny as a Girl Scout, and draws you in when you know that you'd really just like to run away from such oddity.

While Sally Hawkins' performance is memorable, the story is a tad wanting. It never seems to build off Poppy's quirkiness. She keeps running in the same circles for two hours, while occasionally breaking the pattern to go on a date or fend off an unwanted, though rather sad advance. It's a shame too, since Hawkins seems to show some real muscle when she finds herself in theses rare tense moments. Looking back on the film, I can't help but wonder how much more I'd have loved the movie, had it built on these challenges a bit more, and given Poppy a real crisis with which to handle in her own glass-half-full type of way.

While far from perfect, the movie is worth a watch, if only to see a marvelous performance. Poppy exists to remind us that we don't need to have it all to be happy, and don't need to recoil from those around us who are happy. We live in cynical times, where optimism is often confused with naivete. Perhaps if there were more people like Poppy around, life wouldn't seem like so much of a chore.

Tea for the Tillerman: REVOLUTIONARY ROAD * * *

Society's sales pitch says that once we all get married, have a child or two, and buy ourselves a nice home in the 'burbs, we'll be complete. Unfortunately for some, that sort of life isn't enough. They want to be more than just "The Wheelers at 502". The problem is, that more often than not, people don't realize that they want more than this until it's too late and they're already hip-deep in this sort of life. It's these people who end up making some truly bad decisions.

I should start by saying, that this is not the movie to watch if you're having a rough day - I promise you, all it will do is bum you out further. That said, this movie is an amazing story of some very damaged people. Chances are you know somebody like DiCaprio's young executive, Frank, or Winslet's demure housewife, April. What REVOLUTIONARY ROAD will leave you wondering, is whether or not these people you know are hiding some feeling deep down of claustrophobia or restlessness. It's amazing to think that this story was written in 1961, and still seems just as pointed today. So many couples still crash into love thinking the world is their oyster. What happens when eight or nine years pass, and find that the world has offered them no pearls...just an empty shell?

This movie is Winslet's show. She spends almost every scene with an expression that just barely hides the fact that she wants to burst into tears so often. What's worse, is how she continues to make one bad decision after another. Strangely, the audience isn't disgusted by her logic - in fact, she leaves them feeling so much sorrier for her. While Winslet's performance is heartbreaking - and yes, Oscar-worthy - someone else comes damned close to stealing the show. Michael Shannon has a small, but very memorable role as John Givings; the mentally challenged son of Frank & April's realtor. While his therapy has left him rather socially awkward, what it has achieved is giving John a knack for being brutally blunt, and viciously accurate. His scenes are few, but he makes the most of them and says things to The Wheelers that no one else has the guts to point out...no even The Wheelers themselves.

I fully believe that REVOLUTIONARY ROAD will go down as one of the most underrated films of 2008. It's a rare tale of broken desires, and unfulfilled lives. A film-going friend of mine recently noted on her blog that if you're not happy now, you never will be. This film is a picture window that looks into the lives of some very unhappy people. People who despite their big talk, and big plans, might well have never been happy.

Title & Registration (Top Five Opening Sequences)

While I managed to pick a flaw or three in THE WATCHMEN, I was actually quite impressed with the title sequence. If you haven't seen it, it's a series of tableaus that are essentially revisionist history introducing us to the characters we're about to watch and seeing the roles they played in major world events. Underneath it all, Bob Dylan's "The Times They Are A-Changin'" rings out beautifully.

I'm fascinated by details when it comes to art, so the imagination that goes into something as straightforward as a title sequence is something that I really get a kick out of. Really, it's just a studio, a title, and a bunch of names...so i'm sure the temptation is often there just to slap 'em up there and let the high priced movie stars get right to work.

But every once in a while, some imaginative soul puts together something that pulls the audience in, and stands on its own as a memorable aspect of the film. I know, listing such a detail may scream of heralding the most minute detail - but what can I say...That's me.

(If you don't get your fill here, go check out Sean at Film Junk who rhymes off another 15 awesome openings - complete with YouTube clips).

Hatter's Top Five Favorite Credit Sequences
#5. PANIC ROOM (2002)...
While the movie is set almost entirely in a brownstone townhouse, the creators wanted us to remember that this is a New York story. What better way to do that than to have the opening credits hover over the city that never sleeps in a 3-D way that makes them look like they too are part of the landmarks of the city? Simple, yet thoughtful, they provide for some well thought out graphic design.

#4. THE ROCKY HORROR PICTURE SHOW (1975)...
Shocking red coming forward out of pitch black...and then they start singing! Is there any better, or more provocative opening number in the last thirty five years? I highly doubt it. As if that iconic moment wasn't enough, we get that glorious title card announcing the depravity to come with no apologies. Finally, and I can't put my finger on why, I love the cast is credited one by one...including their character names...an even a one line bio! Millions of midnight-movie-goin' fans can't be wrong.

#3. THANK YOU FOR SMOKING (2006)...
That series of images sorta looks like I've just scanned a handful of cigarette packs, doesn't it? As it happens, those are the title cards for this clever comedy. They shuffle across the screen merrily while some dusty 1947 ditty called "Smoke, Smoke, Smoke That Cigarette" chugs along. If you were to walk out right there, you might very well believe that this movie was advocating the habit, and that's what makes it so clever. So cheery. So bright and inviting. So very, very wrong.

#2. VOLVER (2006)...
Sometimes, you just have to keep it simple. The opening credits for this film are actually the two title cards you see above, and one more that starts it all off reading "El Deseo presenta". The whole scene is one beautiful panning shot of a group of Spanish women tending to the graves of their family members on a blustery Saturday morning, with the camera seemingly pushed along the dolly by the gusts of wind. The short sequence tells you much about the women you're about to meet - how they are strong, bound by blood, and care deeply for tradition and each other. What makes it even better is how it doesn't take time to marvel at its own cleverness. just a few seconds pass, before the scene opens up and this fantastic story begins.

#1. TO KILL A MOCKINGBIRD (1960)...
When I first got the idea to do this five, my knee-jerk reaction was to include my favorite film, ALMOST FAMOUS, in the list. However, then I remembered that the title sequence for that film is an homage to one of the greats. The child humming, the box full of treasures, rubbing that turns into the title. It all works together to convey the timelessness and preciousness of this classic story. But just after we get a look at that whimsical crayon-drawing of a bird, the page is torn down the middle...reminding us how easily innocence is lost. This is cinematic perfection.
Did I miss one? Feel free to leave comments naming your favorite credit sequences, along with suggestions for the next top five.

The Heat Is On (500 DAYS OF SUMMER Trailer)

Switching things up this week and posting a trailer today with a top five list to follow tomorrow. My five took a little bit more effort this time around, for reasons which you'll see on Wednesday.

Until then, here's a clip to tide you over. 500 DAYS OF SUMMER was one of the hits of this year's Sundance Film Festival, and automatically catches my interest thanks to the work of the always aluring Zooey Deschanel. Looks like it'll make for a decent date movie this summer!

Review: THE WATCHMEN * * *

Not long ago, I theorized that what makes a great comic book doesn't always translate into a great movie. The two mediums have completely different ground rules when it comes to pace, target audience, and what equals success. As if to prove my point, along comes THE WATCHMEN - a great comic turned into a good movie.

The movie is set in an alternate 1985 - one where Nixon is still president, and one where America and The U.S.S.R. are rather actively threatening nuclear war. in the background of this society is a band of heroes who have been cast aside. Originally named The Minutemen, a generation has passed and their name has been changed to The Watchmen. They were enlisted during The Vietnam War to give America an advantage. Now they live as vigilantes, having been outlawed by three-term president Richard Nixon (yes, you read that correctly). Nowadays, one time heroes like The Comedian, Night Owl, Silk Spectre, and Ozymandias are adapting to a world that no longer needs them to various degrees of success. Then there's Rorshach, who has paid no attention to the decree, and has continued on as a vigilante.

Only Dr. Manhattan - a God-like hero with unimaginable power - remains the lone Watchmen sanctioned by the government. He gives America a heavy advantage over The Soviets, so decree or no decree, they aren't about to outlaw the might he gives their side.

What shakes The Watchmen out of the scattered stations they've taken to is when The Comedian gets murdered by being thrown out of his penthouse window. Rorashach believes that it's a sign that someone somewhere is aiming to kill off these heroes one by one. But for what gain? It's not long after this that Dr. Manhattan becomes the focus of a smear campaign, one that paints him as something that does more harm than good, and ultimately forces him to self-exile himself to Mars.

One after the other, heroes begin to find themselves as targets and subject to set-ups. Who is behind it? What is their goal? Why now, with armageddon creeping ever closer? These questions are enough to push Night Owl and Silk Spectre back into the fray, hoping that they can figure out who is behind it all before the world destroys itself.

THE WATCHMEN is a good movie that could have been a great...something (I'll get back to that). The story hasn't been handled well enough to transcend. So while it is a solid action/sci-fi movie, it don't believe it will have the broader appeal that recent hits like THE DARK KNIGHT, SPIDER-MAN, and IRON MAN received. For starters, the heroes spend most of the film struggling with their own stations in a changing society, and precious little time performing acts of daring-do. Beyond that, the story is set in an age that many of its core audience will have either forgotten, or worse, not have even been born during. While neither of these are game-breaking problems, they are heavy obstacles when trying to appeal to a broader audience than the comic store frequenting base.

What will hurt this movie the most, is the heavy hype surrounding a misleading marketing campaign. To that end, let me be clear - there is action, violence, and stunts in this movie...but the moments are fewer and further between than you've been lead to believe. Watching this band of heroes wrestle with their role in a society that doesn't seem to want them anymore is indeed fascinating, however it won't fascinate those who are waiting for a great fight sequence. Personally, I've seen plenty of fight scenes...watching Night Owl try to figure out how he fits in anymore, or listening to Rorshach explain how depraved society has become is much more interesting.

As I mentioned, this story could have been great. However, I think to truly achieve greatness, the story needed a bigger canvas with which to work. Each of the characters has a deep dark motivation for being who they are. Trying to combine half a dozen back stories with the broader mission at hand is difficult to achieve in a feature film, even one that runs almost three hours. I can't help but wonder if the story would have been better served as an TV miniseries, allowing for better pace and depth.

So as I said, what makes a good comic book doesn't neccesarily make for a good movie. That theory is in play here, but not for lack of effort. I believe its because THE WATCHMEN is simply too sprawling and layered a story to adapt into a film. The filmmakers have done about as good a job as possible in adapting the story, which has resulted in a good movie...to create a great movie, something had to give. Indeed give THE WATCHMEN a watch, just make sure to leave any expectations you might have about it being a big-budget comic book action film at the door.

Tea for The Tillerman: CHE * * *

Feel like watching a film that clocks in at over four hours? Then it's your lucky day.

The best thing about CHE is how dis-interested it is in being a typical bio-pic. Indeed, during much of Stephen Soderbergh's four-hour/two-part opus, Che Guevara seems like a bystander in his own life story. The first half of the film, originally titled THE ARGENTINE, focuses on his role in the Cuban Revolution in the late 1950's. The second half, originally titled GUERILLA, focuses on his guerilla warefare tactics in Bolivia. Neither film gives us a stirring monologue, a sweeping score, or a godlike moment. The story chooses to show what Che did, rather than stand back and listen to him tell us what he is going to do.

What's interesting is that telling CHE's story in this manner has destined the film to stay under the radar. You would think that for a man whose face has been plastered on a zillion tee shirts, that a bio-pic of his life would be huge. Not so. The avant garde style to the whole feature has turned this four hour epic into an indie art film, and with that the smaller profile that many such films achieve. However, I believe that telling Che's story in any other way would dishonour his legacy. After all this was a man who believed in true communism and simplicity. Had his legend unfolded in the same manner as, say William Wallace, he wouldn't care much for it.

The film has been touring North America as a Roadshow Edition, where both halves play back-to-back, with a merciful intermission between the two halves. If possible, I reccomend seeing the film presented this way (they even give you a program!). For many, it may seem like a fossil from a bygone era, it may even seem like the sort of experience many don't have the attention span for. But there are many subtleties to the complete picture that may be lost if a viewer lets a few days or weeks pass in between the two volumes.

Tea for The Tillerman: THE READER * * 1/2

Note: Starting with this post, I'm starting a new series of posts which will be labeled "Tea for the Tillerman". Every once in a while, usually in the early and late months of the year, I end up seeing so much that I find myself falling far behind in actually writing about them. At the moment for instance, I have five to write about, not counting my plans to see THE WATCHMEN on Friday

What I hope to do, starting here with THE READER, is shorten up my reviews, skipping straight to my thoughts and omitting the overview. If my regular review is spreading open the Sunday paper with toast and jam, a smoke, and a cup of tea, a TFTT post would be denying you of the toast and smoke.

I don't want to post them often, but it really is this, or not writing about some titles at all. As always, thanks for reading - and I appreciate the feedback on the shortened posts. Who knows...you might prefer it! ~ Hatter

THE READER is a great movie trapped inside a good movie. It's an adaptation of a beloved book, that loses focus in translation. Pacing is off, it goes right when it should go left, and it has all the sensuality of a bowl of potato salad. However, every once in a while, it dives below the surface and turns into a story of genuine intrigue and pain. Unfortunately, these moments are unsustainable, and after pushing as hard as it can, the plot retreats back to a safe place.

While Kate Winslet is admirable as Hanna Schmitz in this film, it isn't her finest work. Early in the film, she seems cold, though likewise trying for a harshness she can't achieve. I had no clue why Michael was so enticed by her, aside from the fact that he was a teenager and hadn't caught a glimpse of an adult woman's thigh before.It would take more than that for me, but I digress. Winslet evens out late in the film, when Hanna returns - a weary, defeated, broken shell of her former self. For me, one side of the performance cancels out the other, leaving no lasting impression.

While the love story disappoints, the darker human angle is quite successful. It takes a long hard look at blame, responsibility, humanity, and forgiveness. Many of these moments are perfectly crafted, managing to both warm and break your heart exactly when each should happen. Unfortunately, these moments are scattered, and self-contained...so the movie never manages to build any sort of momentum.

THE READER had potential, but while it's worth seeing, it isn't the sort of film I'd advise rushing out to see. It's a shame, since I really believe that a more delicate touch could have achieved far more with this story.

That said, it did achieve one thing...I now find myself curious to read the book. That's gotta be worth something, right?

Rebel Without a Pause (PUBLIC ENEMIES Trailer)

Back in January, I mentioned the five movies I was looking most forward to in 2009, and at the top of the list was Michael Mann's next feature PUBLIC ENEMIES. The film is about the notorious rise of Depression-era gangster John Dillinger (played by Johnny Depp), and the FBI manhunt to bring him to justice.

I was a tad disappointed with the rather unoriginal poster you see above...perhaps the trailer can restore my level of excitement to lofty heights...

In The Colors (Top Five Comic Book Movies)

Right around now, the hype surrounding THE WATCHMEN is at a fever pitch. I'm not certain that it can live up to the hype for a lot of reasons, but that shouldn't change the fact that it oughta be a fun night at the movies.

THE WATCHMEN continues the trend that's been rolling for the last eight years, where every comic book property is treated like a potential goldmine. Some of them have transcended and worked well as movies (X-MEN for instance). Others...well...haven't...(THE HULK, I'm looking at you).

So as I feverishly try to re-read the graphic novel that many call the best ever done, allow me a moment to rhyme off some of my favorite adaptations of funny books...

Hatter's Top Five Favorite Comic Book Movies
#5. SPIDER-MAN 2 (2004)... The first was a rough draft, and the third was a mess. But in the second, Sam Raimi touched on a theme that suddenly made this superhero more accessible. As we watch Peter Parker abandon life as a superhero to try and have a normal life, we realize that while they are idolized by millions, the life of a hero is often a lonely one. The audience sees itself in Spidey's struggle, which grounds the story. Of course it doesn't hurt that some eye-popping action sequences take place to really make the film soar. It's a pity Raimi didn't quit while he was ahead.

#4. PERSEPOLIS (2007)... What? You didn't think this list was going to be entirely made up of superheroes, did you? PERSEPOLIS tells the tale of young Marjane Satrapi who grows up in Iran as the Islamic Revolution takes over the country. It's proof that 2-D animation is till alive and well, and gives both her horrific reality and amusing escapist moments a stage all their own. If you ever have the chance read, this graphic novel...then if you haven't already, see the film. You can thank me later.

#3. IRON-MAN (2008)... Really and truly, this movie could have been called "How Downey Got His Groove Back". IRON MAN is a prime example, that great effects may bring 'em in - but great acting makes 'em stay. Likewise, what I personally love about the film, is that it explores a lesser hero. When it comes to comics, you have your all stars...Superman, Spider-Man, Batman, Captain America. But after them, you have entire universes of supporting characters who can be just as interesting. As this film proves, those bench players can still make for a great film in the right hands.

#2. AMERICAN SPLENDOR... (2003) Moving away from the capes one more time...far, far away. Harvey Pekar isn't the sort of guy you'd expect to have a comic book written about him. Hell, Harvey Pekar isn't the sort of guy you'd expect anything to be written about. But his life is an amusing one in it's own simple way, and such is the heart of AMERICAN SPLENDOR. However, the best part about this movie, is how they take a moment here and there, stop it dead in its tracks, and let the real Harvey get off a thought or two. Comic book, or no comic book - it's a masterstroke.

#1. THE DARK KNIGHT (2008)... You're shocked, I'm sure. I know, I know, it's the fashionable answer right now, but I just can't help it. It's all about the story. Ditch the cape, wipe away the make up. Focus on the fact that it's a cop drama about a lunatic taking the city hostage by means of tearing up the rules. It proved that a comic book movie could say something about how fragile we as a society really are. It also reminded us, that as soon as we elevate someone to hero status, the clock starts ticking on how long it will take us to tear them down. It is indeed the trendy answer, but it's my opinion that in five or ten years time, we will look back on this film as the blueprint for every great comic book movie that follows it.

That, and chances are that in five or ten years, it'll still be my favorite.

Did I miss one? Feel free to leave comments naming your favorite comic book films, along with suggestions for the next top five.

Friends in Low Places

I haven't a whole lot since Oscar night, and it isn't exactly for lack of subject material. I have scribblings that will eventually turn themselves into reviews for no less than four movies...but in the last week, I've just felt rather spent when it comes to cinematic babble. It could just be that I'm dwelling in the phantom zone between year-end Oscar bait, and spring-summer popcorn fair and my brain needs a chance to reset.

Luckily for me, fellow blogger Blake has arrived with the smelling salts.

This afternoon, Blake gave me a Dardo Award. A Dardo is passed along from blogger to blogger to recognize the following:

Cultural, literary, and personal values in the form of creative and original writing. These stamps were created with the intention of promoting fraternization between bloggers, a way of showing appreciation and gratitude for work that adds value to the Web.

I must say, such a pat on the back from a fellow movie enthusiast really does make my day. There is many days where I feel like I'm writing for an audience of four, so it really brightens my mood when I get signs that not only are you fine folks reading my popcorn babble, but actually giving credence to what I have to say. Likewise, all the fellow bloggers that I've happened upon over the last year or so have made doing this all the more fun, and encouraged me to keep at it in spite of the many times I felt like shutting it down.

So in short, to anyone reading this, and to Blake specifically - Thanks!

In accepting the award, I must do two things:

1. Accept the award by posting it on your blog along with the name of the person that has granted the award and a link to his/her blog.
2. Pass the award to another five blogs that are worthy of this acknowledgment, remembering to contact each of them to let them know they have been selected for this award

It's hard to keep it down to five, but if you have a chance, take a look at the writings of these five bloggers. They've all inspired and entertained me over the last year...

Fletch at Blog Cabins
Nayana at The Center Seat
Mike at Big Mike's Movie Blog
Trista at 10 Movies To See Before You Die
and
Bob at Eternal Sunshine of The Logical Mind

If you hyave sometime, give their spaces a look and add 'em to your bookmarks.