We Are The Champions

Today, I Feel Like This!

Back to Basics - SE7EN

Apathy isn't a deadly sin, but sometimes it feels like it should be. Some see it as a coping mechanism, a way to get through the day in a world that has just become too damned shitty. Others see it as a defence for the weak - that the unfeeling nature that comes with it is a sign that one is losing touch with their humanity. They might both be right, but what is certain, is that there is only one thing that can break through apathy - and that is an act that is completely, and unexpectedly impossible to ignore.

Such is the story of SE7EN, one of my all time favorite movies and the next film up in the 1001 Movies Club. My full thoughts can be found after the jump.

SE7EN, the story of a serial killer slaying innocent victims based on the seven deadly sins. Trying to catch this twisted person are Detective David Mills (Brad Pitt) and Detective William Somerset (Morgan Freeman). It's my belief that viewers of SE7EN gravitate towards one of these two men who are very different sides of the same coin.

Mills is a believer in humanity. He's a pitbull in a Brooks Brothers suit, a pitbull who hangs up his ties still knotted.He hears the whispers of his inadequacies, but works to protect decent people undeterred. He makes inappropriate comments at inappropriate times, but it seems like it's the only way he can cope with what he's seeing as he tries to make sense of the madness he's witnessing.

Somerset doesn't understand humanity anymore. He has reached over the gunnels of the boat time after time to save mankind from drowning itself...and he's finally grown tired of reaching. While he doesn't believe society has much hope, he sees possibilities in Mills. Something about Mills' hopefulness reminds him of the man he used to be, and thus he does everything he can to protect Mills from becoming as jaded and calloused as he is. He might not believe in civilization, but he believes in Mills.

(Take this moment to ask yourself which character you'd be)

Strangely, for a film this grim, director david Fincher has included quite a few funny moments - most of them centering around Brad Pitt's character of David Mills. It's amusing for instance, to hear Freeman's Detective Somerset ask for a glass of wine, and have Mills bring him back a highball glass full of merlot.

I also tend to get a slight grin when the two detectives are reading off the list of books John Doe has checked out from the public library, and Mills pronounces The Marquis de Sade and The Marquis de "Sha-day"...y'know, as in Sade. I have to believe that its moments like this that keep this film from being one of those truly dreary bits of cinema I can't bring myself to watch more than once.

I'm thankful that I can endure repeated viewings, because I believe few major films from the 90's have aged as well as SE7EN has. It's a carefully constructed film, that while it employs a twist or two, does not completely rely on those twists to succeed. Instead, each twist feels as though the knife has been pushed in a little deeper. The way John Doe is kept a mystery to us until just the right moment only increases the mystery and viciousness surrounding him. The film, like it's unforgettable villain, is unassuming, deliberate and methodical - making the bursts of violence that much more unsettling.

The events of SE7EN do indeed feel like a slow descent into hell. Perhaps the hardest things about this journey is where it leaves us. The case builds to it's painful conclusion...and then ends after a quick nod. The film kicks us as hard as it can square in the gut. Then as we're left on our hands and knees puking in the gutter, the film basically walks away and waves goodbye, leaving us to try and collect ourselves as best we can.

But Hatter, Is It List-Worthy?... You'd better believe it. A story like this could have easily leaned back on its gimmick and been content to play out as another ordinary cop drama looking for its place in pop culture. However, by taking the story down the darkest of allies, and making us question our deepest morals, SE7EN becomes something much more lasting.

The Good Ol' Hockey Game

Today, I Feel Like This...

Everybody's Talkin' 2 - 26 (Chatter From Other Bloggers)

Where the heck did February go? I swear just yesterday that pesky groundhog was telling us it would be a late spring, and now there's all this talk of lions, and lambs, and what not. There's a lot on my mind at the moment, so pardon me if I keep this week's intro short & sweet.

For starters, please note that I've started a Facebook page for this blog. So if you feel so inclined, please follow me there! I'll be doing a week-long series of Oscar posts next week, thus I'll be skipping my E-T feature next Friday. To make up for that, I'm going to try and load up this particular entry.

So, for your reading fulfillment I give you...

Everyone was talking about SHUTTER ISLAND this week. Danny King and his bulletin wonders if it might have been Oscar bait.

Fletch, who took one for the team and watched DAYBREAKERS.

RTM at Flixchatter felt slightly underwhelmed by THE HURT LOCKER and flips those feelings into a conversation about critical darlings that leave you unimpressed.

Joel might have ditched the magical ticket stub, but he's still seeing good movies - check out his thoughts on THE WHITE RIBBON.

Bryce at Things That Don't Suck wrote a wonderfully thoughtful piece on 2004's SIDEWAYS.

Casey has posted an exhaustive list of the best movie soundtracks - but resist the urge to point out that he missed one of the greatest of them all.

Nick from Random Ramblings has watched PONTYPOOL, one of my favorite dvd discoveries lately.

Number Six has dispelled the mystery and given us all the story behind his handle.

Ross & Ross are back at it - this time arguing CHICAGO and MOULIN ROUGE! (Count me in on Team Baz you guys).

Finally, one of the best bloggers going, Sam at Wonders In the Dark is contemplating the best films of this new century.


Enjoy!

Here Comes Your Man

Roger Ebert has been a huge influence on me.

I can still remember beginning to watch him with Gene Siskel on TV back when I was 16 and first seriously getting into film. While it would take a few years until I would actively start hunting down some of the "smaller" movies they'd discuss, I nevertheless always gravitated to the way they would critique, dissect, and indeed argue over every week. I was sad when Gene Siskel passed away all those years ago, since it seemed to slightly muck up the dynamic of the show (Roper was never any match for him).

Then came the news a few years back that Ebert wasn't well. He needed surgery to fight cancer which has since left him unable to speak (thus, no more TV show). I think the bigger shock to my system was having to go several weeks without seeing any of his writing...but such things come when one is recovering from surgery.

As I mentioned in my podcast, Ebert is back in the news. The photo you see above you is from a feature article in Esquire Magazine (found here). The article caught me off guard at first, since I've always found it strange when the media covers the media. But for those who haven't been following Ebert's personal situation, or sadly - continuing to read his work, his situation might come as a shock to the system.

What leaves me slightly more intrigued gang, is a rumour that next week, he'll be appearing on Oprah Winfrey's show. If this is true - you'd better believe I'll be setting my PVR.

Indeed, Roger Ebert has been a huge influence on me. He looks for the good in a film, isn't afraid to call a bomb a bomb, and writes so. freakin'. well! These little babblings of mine are like crayon scribblings compared to the thoughtful analysis that he can fire off on his worst day. The article and potential TV appearance intrigue me because I care about the man behind the work, and while I know he'll likely never read this, I just felt like this haphazard moment he's having back in the spotlight would be an opportune time to say it...

...Thanks Roger. I'd never have been able to write even this well without you.

Money City Maniacs (WALL STREET: MONEY NEVER SLEEPS Trailer)

As the world's financial machine seemed to come to a grinding halt autumn before last, I found myself thinking back to Oliver Stone's WALL STREET. I gravitated towards Gordon Gekko's admission that at the end of the day, he creates nothing...and his bold declaration that "Greed is Good".

I wondered if we were finally feeling the ultimate fallout from such arrogance that drives our white collar economy, and further wondered what someone like Gordon Gekko would make of our financial situation today.

Well folks...in a few short weeks, I'll get my answer...

Doubleback: THE COVE

I am in no way an animal rights activist. that's not to say that I don't care about the well being of the creatures we share this earth with. It's just to say that one has to choose their causes, and that the neverending fight for animal rights just isn't "my fight". I support everyone whose fight it is, but I tend to stand aside somewhat unaffected. So when a movie like THE COVE can come along, and shake me out of my neutrality...it's surprising.

THE COVE is a documentary that zeroes in on the fishing village of Tajii, Japan. It's this tiny village that is the centre of the world's dolphin hunting and trade. Boats fill the water in Tajii harbour, and heard the dolphins towards a wide mouthed lagoon where they are penned for sale to ocean life attractions, and rumoured to be killed. Former dolphin trainer, and current activist Ric O'Barry is determined to capture footage of what happens in that cove...but it seems to be much easier said than done.

This cove is heavily guarded and well out of rubbernecker view. There are fences, there are guards, there's barbed wire. Get too close in broad daylight and you'll get chased off. Pull out a camera and they'll scream at you while they chase you off. this is what really makes the film - not the fact that it documents a very controversial practice...but the story within the story of the guerilla filmmaking that needs to take place in order to document the very controversial practice. Think of it as OCEAN'S 11 without the star power.

From a technical standpoint the doc is not flawless - there were about five time-delay sequences too many for my liking. However, the decision to pay special attention to the team that risked a lot to tell this story more than makes up for it. Admittedly it's strange...it's rare that one celebrates a doc that is heavily centred around the making of the doc. However, the passion and dedication of this motley crew, make their story just too intriguing to ignore.

Suffice to say, a film like this is not without some disturbing imagery. All I can offer is to say that the brutality is not sensationalistic, and is important to complete the whole project. It might be one-sided, but it's very difficult to give the other side any rfeal grounds for argument. Quite simply - it's one of the best docs I've ever seen. Track it down.

Midnight Radio: The Matineecast Episode 7

Once in a generation, galaxies collide.
The cosmic tumblers click into place, and two planets of massive cinematic nerdiness cross orbits.

Ladies and gentleman, like the sighting of Haley's Comet, today's podcast is one where for years to come you will remember "Where you were when...".

This one is epic gang...I give you the Pudge Rodriguez episode



By the way, if there was ever any doubt of my nationality, listen closely and you'll hear the mic pick up me saying "eh" during this episode.....twice.

Here's what's in store in episode seven...

Runtime
1 hour, 3 minutes, 10 seconds (!!!)

Up for Discussion

1. My brief introduction (0:00)
2. KNOW YOUR ENEMY - Q & A with this episode's guest, Mr. Mendez from Big Mike's Movie Blog. (1:50)
3. WHAT'S GOIN' ON - Esquire profiles Roger Ebert, a Toronto art house theatre gets a reprieve, and the stupidity of texting audiences. (8:54)
4. THE NEW SLANG - Review and reaction of SHUTTER ISLAND (19:12)
5. THE BEST OF YOU - Our Top Five Scorsese Movies. (31:17)

Comments and feedback are welcome, and thanks very much for listening.

Enjoy!

Review: SHUTTER ISLAND * * * 1/2

"Do you really want to know?"

We've all heard those six words at some point, and in all of us it evokes a certain unease. It answers a question with a question, and tells us that we're not going like the truth. That's the feeling that lingers over much of SHUTTER ISLAND...that every single answer we get in this mystery will lead to further - and more unsettling - questions.

US Marshals Teddy Daniels (Leo DiCaprio) and Chuck Aule (Mark Ruffalo) are dispatched to Shutter Island to investigate the disappearance of a patient from a federal hospital for the criminally insane. The facility's chief administrator, Dr. John Cawley (Ben Kingsley) seems as perplexed as the marshals are, wondering how in the world its possible for a patient to get away from such tight security. However, he is also quietly worried since there are few safe places on Shutter Island to hide...so the longer the patient is missing, the more likely it is that the patient is dead.

As Daniels heads the investigation, he begins to fight off flashbacks of traumatic moments in his own past. He fights off memories of a liberating the Dachau concentration camp during World War II. He also has to contend with visions of his dead wife Dolores (Michelle Williams). She was killed when their apartment was burnt down by an arsonist - who just so happens to have been committed to Shutter Island. She still haunts his quiet moments, and seems intent on warning him to let it all go. Leaving us to wonder...let what go?

As a vicious storm moves into the island, making outside communication and departure impossibilities, Daniels and Aule start digging deeper into the goings on of Shutter Island. Unfortunately, every answer they get leads to six more questions, each more unsettling than the last.


SHUTTER ISLAND is a dark descent into the human psyche, but not one that seems concerned with the actual weight of a true psychological thriller. It's clear early on that things aren't always what they seem, and that all the audience can do is continue further down the spiral. At first though, it feels a lot like pulp fiction - the genre, not the Tarentino film. You know the one - a storm is coming, the ferry can't leave the island, the phones are down, and the power goes out.

But it's at this crossroads that the story really makes its mark. DiCaprio wears our tension and our fears on his face as he tries to put this puzzle together (and we get a good look at that face since he's in every single scene). We get prodded and poked with various faces giving us various explanations for what's going on, and much like Leo, we're left in a sad confusion as to which story to believe. After all, when the logic is being given to you by patients in a mental hospital...it leaves you in a quandary about which nut in the nut jar you think is being the least nutty.

Martin Scorsese hasn't made this sort of movie in a while. It echoes back to CAPE FEAR and BRINGING OUT THE DEAD, neither of which are the sorts of titles people bring up first when talking about the man's greatest films. That's not to say that this isn't a great Scorsese film. It's a complete vision, and yanks you out of the reality you know for over two hours. It is filled with moments of deep despair, all of which are shown with gothic elegance. In a way, it's fitting that it's release date was pushed to this late winter slot since the film echoes the time of year...a desire to find the promise of spring amongst the last throes of cold darkness.

Occasionally, I end up liking a movie that a lot of people hate...and in some ways I wonder if SHUTTER ISLAND is that sort of film. It's not a "Leo Movie", though Leo is in it. It's not a "Scary Movie", though there are moments of true terror. So if that's what you're looking for, move on. However, if you feel like striking a match and trying to make sense out of the whispers in the darkness, then SHUTTER ISLAND is the movie for you. Just be careful which of those whispers you decide to believe.

What did you think? Feel free to leave comments with any thoughts or reactions on SHUTTER ISLAND.

Mama Said There'd Be Days Like This

It's been a very surreal week gang.

Today, I Feel Like This...

Everybody's Talkin' 02-19 (Chatter From Other Bloggers)

Wowsers folks...Feels like I've been blogging your ear off for the last few weeks! Be truthful now, at least a few of you have to be getting bored of listening to me.

I certainly hope their aren't too many of you feeling Hatter Fatigue, because I have an awful lot to write about over the next few weeks. There are movies I've seen in the last week or two that I haven't written about yet, movies to be seen this weekend that I'll want to chime in on, and a new episode of The Matineecast coming up shortly for your headphone fulfillment.

However, as is the custom, once a week I offer you a chance to cleanse the palette. It's Friday, so that means it's time for me to put the mic down for a moment and give a few other awesome scribblers their due.

So, for your reading fulfillment, I give you...

Ringtone guru, fellow LAMBcaster, and all around good guy Tom Clift imparts upon us one of his favorite moviegoing experiences (something I always enjoy hearing about!).

Another fellow LAMBcaster is Travis - He's the trivia guru even I can't seem to beat. He went and saw DEAR JOHN so that we don't have to. Nice of him, wouldn't you say?

Movieman at The Dancing Image is also feeling nostalgic. He's looking back on the posters of his movie-going past.

One of the best movies suggested to me last year was BRICK. Univarn just watched it on DVD and has some thoughts.

Given that I'll be taking in SHUTTER ISLAND tonight, seems like an opportune time to talk Scorsese - Jake at Not Just Movies looks back on RAGING BULL.

Encore Andrew isn't done looking back on the last decade just yet. For your consideration, he has rhymed off fifteen of the best performances by a leading actress.

Enjoy!

Back to Basics - TOP GUN

There are a small handful of you reading this, who have known me for more than thirteen years. Those of you who have known me that long, will remember that in my younger days, people used to call me by very different nickname. For those of you who remember this humorous time in my young life, you might be surprised to know two things about the fact that I am about to write about TOP GUN for the 1001 Movies Club.

The first is that no, I was not the person who chose this movie. The second, is that as I watched it, trying to think like I'd never seen it before, I have to admit...TOP GUN...kinda sucks.

My full about-face can be found after the jump.

Allow me a brief bit of back-story. As I alluded to in the intro, there was a time where Young Hatter swore by this film. He called it his all-time favorite and managed to earn himself a dubious nickname for his mind-blowing opposite-sex-inadequacies. He could quote every line, wore out copies of the soundtrack, and annually paid to see it on an IMAX screen. While it still holds a particular place in his heart, it's pretty safe to say that he has left TOP GUN behind in the same pile as his Doc Martens and Sony Discman.

When it was suggested that the 1001 Club watch and write about TOP GUN this month, it actually gave me an opportunity to look back in a somewhat unfamiliar way. I own the dvd of course, but haven't watched it in a good five years easily. I tried to put myself in the place of someone who has never seen it before...and I can't say for sure whether that person would have made it past the "You've Lost That Lovin' Feeling" scene.

Don't get me wrong, there are things about this movie that are still cool and/or funny (especially the jokes surrounding flipping a Soviet fighter pilot the bird). Unfortunately though, most of that is drowned in a pond of cheesiness, obviousness, rah-rah Americanism, and homoeroticism. The relationship between "Maverick" (Tom Cruise) and "Goose" (Anthony Edwards) seems to hold up pretty well. However, anytime the story turns itself to the rivalry between Maverick and "Ice Man" (Val Kilmer), it just feels like a pair of douches trying to out douche each other, and not having a ruler to settle the argument.

There aren't a whole lot of special effects at play to date the movie, but there is one visual bit that leaves me puzzled. For a film about dogfighting fighter planes, why is it that more often than not, we only see one fighter plane in the shot? True shooting these sequences couldn't have been easy...but wasn't there one camera that could really give the audience a sense of the death defying acts?

The twelve year old who once was wowed would be ashamed to see the amount of questions he'd be asking himself twenty years later. Like why is the rebellious Maverick still allowed to fly? Who introduces themself to civilian by their call sign? Who plays volleyball in jeans? Why is this movie so morose in the final act? And finally - and perhaps most importantly - how is spinning a pen between your knuckles an intimidating gesture?

I could go on forever, especially since I haven't even touched on how most of the guys in this plot don't seem to get as ramped up by the women around them so much as they do with each other in the locker room. However, I believe I have driven the stake into my teenage enjoyments quite enough for one post. What I will say, is that watching TOP GUN reminded me of the reaction I have given to Lady Hatter when she has asked me to watch so many of her eighties favorites:

If you didn't see it the first time around, there's no way it's gonna do much for you now.

But Hatter, Is It List-Worthy?... Not on your life. This movie, while fun for some of us, has not aged well at all. It is not much more than a two hour recruitment informercial for the U.S. Navy, with an overbearing score, and every hot-shot cliché you can think of. It's a relic of The Cold War and too stereotypical for it's own good.

Doubleback: THE MESSENGER

You wouldn't think that a film that chronicles the same action over and over to be all that compelling. But when that action involves walking up to a perfect stranger unannounced, and telling them "I'm very sorry but your loved one was killed today"...it's a routine that shakes you every time you have to watch it. Such is the story of THE MESSENGER, one of the best films of the last year.

THE MESSENGER tells the tale of Staff Sergeant Will Montgomery (Ben Foster), who has recently returned from Iraq with severe injuries. By the time he is released from the VA, he still has three months left in his tour. But rather than re-deploy hi to Iraq, The Army enlists him in the Casualty Notification service. He now serves directly under Captain Tony Stone (Woody Harrelson), and must deliver notices of soldiers being killed in action to their next of kin.

While the movie takes a somewhat familiar turn in its final act, it is nonetheless a gripping film. We are forced to watch over and over as everyday people get the worst possible news, and it's how they all seem to handle it so very differently that makes the audience stick with it. What's more is the way we can only watch their reaction, and cannot actually reach out to them. This directly echoes the soldiers' direct orders never to touch the next of kin.

Montgomery doesn't completely follow this order as he pussyfoots around actually getting involved with the wife of a fallen soldier, Olivia (Samantha Morton). Because of how fucked up they both feel at the same moment, they find themselves reaching out to each other...and they share a scene together in her kitchen that might very well be the most sadly tender thing I've ever seen.

While it's nominated for a few Oscars, this film is indeed difficult to track down right now. It is a tough watch, but for the performances of Foster and Harrelson alone, take my word for it - it's worth the search.

Now if you'll excuse me, I'm off to cry myself to sleep.

Elsewhere: Ross vs Ross 2007 Oscar Redux

Howdy campers. I'm taking part in an event today, so if you have a moment, click here to take a look at myself, M.Carter, Ross and Ross rehashing the Best Picture race from two years ago.

The Angels Wanna Wear My Red Shoes

Pardon me while I take a small break from writing about the glut of movies I've recently seen in theatres and on dvd (three more to go before I'm caught up!).

This morning I thought I'd give y'all a glimpse at my Valentine's Day shennanigans. See, for quite a long time, Lady Hatter has been dropping hints that she wanted a dvd copy of this...



As a fun little joke, I decided instead to give her this (claiming I'd never heard of the original)...




It would have been funnier if I had a better poker face. Sadly I couldn't draw the joke out all that long.

Doubleback: ZOMBIELAND

Part of me wants to title this post "What Took Me So Long?". Alas, every once in a while I manage to miss out on a fun time, and in 2009 it was ZOMBIELAND. The movie is about four people trying to survive an America that has been almost entirely overrun by zombies.

In a way, it's hard to nail down precisely what I loved so much about ZOMBIELAND...perhaps it's easier to start by saying there was nothing that I didn't like! The jokes, the style, the acting, even the running gag about the rules of surviving in Zombieland. I was especially amused by Woody Harrelson who seems to be having more fun than he's had in a long time.

Perhaps the only downside about not seeing a movie for five months is the fact that one of the best parts of the film - "the cameo" - was a detail I couldn't avoid. It's an unfortunate development, since while I found it to be a particularly awesome scene, I would have loved it just that little bit more if I didn't know it was coming.

Thinking back on 2009, I wouldn't quite say that ZOMBIELAND was the best film I saw all year (though it easily would have made my top ten). That in mind, I can say that of all the movies I saw in 2009, ZOMBIELAND was the movie that was the most fun.

Now if you'll excuse me, I have a wicked hankering for a Twinkie.

Doubleback: IN THE LOOP

Perhaps the best way to explain the strange days we find ourselves in, is to tell an even stranger story.

IN THE LOOP is a brilliant British satire chronicling a world's march to war. It would seem as though wars these days are really sparked by one person's words getting misconstrued. What begins as off-the-cuff musing (with a microphone in front of you) ends up turning into sabre rattling in the time it takes to get to the evening news. Such is life for little-known British Minister Simon Foster (Tom Hollander). After he declares that war is "unforeseeable", he gets raked over the coals for not walking the company line.

Peter Capaldi is the one who does the raking, and does so in terrific fashion. He has a knack of tearing people apart that sounds funny to anyone watching, but feels like daggers to the one on the receiving end (course that isn't hard when someone threatens to "punch you into paralysis").

Meantime in America, the Brits are summoned to attend the War Committee (deviously masquerading as the "Future Planning Committee") where The American Secretary of Diplomacy and a Lieutenant General (Mimi Kennedy and James Gandolfini) are trying to stave off the warmongering efforts of a Secretary of State so deranged, he uses a live grenade as a paperweight.

Between shark porn, children's calculators, and walls that won't stop falling down, IN THE LOOP is filled with subtle absurdity. As if that's not enough, it brings some very real details into play such as the fact that political aides seems to be getting younger by the day, and that the people who decide our very way of life are helped by people barely old enough to drink.

This movie is amazing, and has rightfully been nominated for a Best Original Screenplay Oscar. As I watched it, I started to think that this is the sort of film Christopher Guest would make if he ever tried his hand at political satire. I also had to wonder about the way a memo for peace gets spun into intel driving the cause to war. This is 'just a movie' after all...but in this era where faulty intel has led the march to some horrible decisions, how far off can it really be?

Now if you'll excuse me, I'm off to climb the mountain of conflict.

Review: THE WOLFMAN * 1/2

Even a man who is pure in heart
And says his prayers by night,
May become a wolf when the wolfbane blooms
and the autumn moon is bright...

What does the poem saying about praying men who are pure of heart getting their twelve bucks back?

THE WOLFMAN is a remake of the 1941 classic of the same name. We begin by watching an unseen monster ruthlessly kill a man in the woods. The man is Ben Talbot, and his death brings his brother Lawrence (Benicio del Toro) back home like the prodigal son. Lawrence needs to know how his brother dies, especially after seeing the eccentric state of his father John (Anthony Hopkins), and the sorrow of his Ben's sister Gwen (Emily Blunt).

His search for the truth sends him to a gypsy camp, but moments before he can get answers, the camp is attacked (in pretty cool fashion actually) by a primarily unseen beast. In an act of bravery, Lawrence saves a child, and draws the beast - a werewolf -away. he is badly bitten on the neck, but ultimately survives thanks to the gypsies. However, before the bring him back to his father, they whisper among themselves about what they believe he will become.

Before long Lawrence is having nightmares, demanding Gwen leave for London, getting visited by a Scotland Yard inspector (Hugo Weaving), causing villagers to melt their silver spoons down into bullets, and getting an amazingly screwed up case of 'father knows best'...all before the first full moon.


In case you didn't know, this movie had been delayed like no tomorrow as the effects wizards tried to get the look of Wolfie just right. Well I don't know if they just threw in the towel or ran out of funding, but fuzzy still doesn't look that hot. It's strange - nearly seventy years have gone by since Lon Chaney, and yet this wolfman doesn't look too much more believable. Hell - the werewolves in NEW MOON looked better than this creature...who looked more like a hybrid of a gorilla and a sasquatch. Granted, I was pretty impressed by the CGI in the scene where John Lithgow drives him out to the forest and tough-loves him back to his home.
(Shit. Wrong movie.)

As if the effects weren't crummy enough, we get a cast who all must be feeling the credit crunch, since almost all of them do little more than look sad, look bewildered, look like their constipated, or all of the above. Emily Blunt's accent changes with the scene, which boggles the mind when one considers she's a Brit for starters. And then there's Anthony Hopkins doing his best Malcolm McDowell impression. I'm pretty darned sure this is his worst performance ever, and I'm the guy who saw INSTINCT. He's subscribed to the Walken School of Ignoring Punctuation, but unlike Saint Christopher, he can't pull it off. I must admit though, he was pretty chilling when Sigourney Weaver fights to protect the wolfman in his natural habitat.
(Shit. Wrong movie again.)

There's some pretty darned good talent at work in THE WOLFMAN, but I have to believe that the highest paid of all of them was composer Danny Elfman. The only reason I can think of for his textbook scary-movie-score to be played so freakin' loud all movie long is that it cost the filmmakers so much to get him to do it. It's actually a pity, because despite how many jokes I'm making, THE WOLFMAN did have a few good scenes. Unfortunately, all the tension was removed from them by the furious strings coming from the score. I was especially distracted by the heavy handed cues when the wolfman climbs up the Empire State Building.
(Shit. I swear I'm not trying to do this.)

Perhaps the only good thing that could come of the silliness that is THE WOLFMAN, is that Hollywood might take it as a cue that movies that scared our grandparents are "ooga-boogas" from a bygone era, and just don't adapt very well. Argue amongst yourselves on the merit of Coppola's DRACULA and Brannagh's FRANKENSTEIN, but for me this is the final nail. It gave me a laugh here and there, and did provide one especially good kill, but none of that was enough to change my mind that this movie is nothing but an immense waste of time and money. Not even seeing the soulmate-like relationship blossom between the wolfman and Charlize Theron.
(Dammit!)

What did you think? Feel free to leave comments with any thoughts or reactions on THE WOLFMAN.

Waivin' Flag

Today, I Feel Like This...

Everybody's Talkin' 2 - 12 (Chatter From Other Bloggers)

It's another long weekend up here in the Great White North, and it couldn't have arrived at a more opportune time (Not enough tea in the world for this weary Hatter these days).

I'm pretty sure much of it will be spent catching up on movies. There's a stack of DVD's to be watched, and at least one trip to the theatre in store (Got a date to see WOLFMAN with Susie Q!). So all in all, expect the posts to come fast and hard over the next little while. Of course, it never hurts to continually read more and more awesome posts from my fellow bloggers to keep my craetive and competitive fires burning!

So for your reading fulfillment, I give you...

Thomas at Gatto Reels gives us a good review of a movie I've been hearing a lot of good things about - FISH TANK.

Ross and Ross have incited a group to argue over what will win Best Picture.

Meanwhile, Joel has seen one of the few remaining Oscar nominees in the big eight categories that I haven't yet - here's his reaction to THE LAST STATION.

Heather and her Movie Mobsters have gotten all mushy on us and rhymed off ten romantic songs from movie history (Though I must protest since they missed "Soldier of Love").

Mere days after Shannon and I mentioned it in our podcast, Dan the Man reviewed HEDWIG AND THE ANGRY INCH.

Finally, katie at The Stories That Really Matterd cites a few films to help her sort out her daddy issues (Sorry Katie - I couldn't resist!).

Enjoy!

Killer Queen

It's rare that movie marketing amuses me, let alone amuses me enough to merit mention in this trifle of a soapbox. However, the commute home last night gave me a smile and I figured some of y'all might find it amusing.

My daily commute into work here in Toronto consists of a subway ride followed by a streetcar ride. I take the subway south to a major artery in the city called Queen Street, which is handy to get to since I get off the subway at Queen Station. If for whatever reason one finds Toronto's subway system confusing, they make it easy as pie to know what station you're in by writing the name in dark blue letters against a white wall.

Well, seems as though the fine folks at Disney saw an advertising opportunity there. Take a peek at the custom promo job they've done for ALICE IN WONDERLAND...

...Cool, eh?

Doubleback: FOOD, INC.

Ever wonder how your food gets from the farm to your fridge? Ever wonder why food keeps a little longer and tastes a little better? Ever wonder why you can buy a bag of chips for eighty five cents but a bunch of carrots costs two fifty? If you want to get the scoop on the situation surrounding much of what we eat, might I suggest FOOD, INC. - a documentary from 2009 which is currently up for an Oscar.

I can't say why exactly, but much of what FOOD, INC. outlines wasn't exactly news to me. Maybe I keep up with current events more than I used to, but I was quite aware going in of all the tricks and shortcuts the meat industry has started taking to give us the food we want. What I wasn't aware of, is the amount of corruption that currently exists within the food industry. I had no idea that 90% of the meat Americans consume come from the same four suppliers...and how those four suppliers are dictating instructions to their farmers. I also wasn't aware just how many former executives from these suppliers held/hold very important positions in Washington.

What FOOD, INC. does best is question our shopping habits. For instance, ever wonder why it is that you can get a ninety nine cent burger from Burger King...but a head of broccoli costs a buck seventy nine? Why would a family struggling to make ends meet go grocery shopping for healthy ingredients when they can feed their family at the drive-thru for a fraction of the cost?

This doc is informative and entertaining, but might well put you off your dinner. The spread of disease is mapped out in no uncertain terms, and if you're swayed or upset by such things, you might want to give this a skip. If you want to learn more about what's really going on with what you're eating and why you're eating it - give this a look.

Besame Mucho (Hatter's Five Favorite Movie Kisses)

While it is indeed a bit of a manufactured holiday, I can't help but be a believer in Valentine's Day. It is after all, an excuse to tell those special to us that we care about them...or if you're hollywood, it's an excuse to make the all-star chick flick, sit back and laugh at what suckers will be dragged to it (Lady hatter and I have plans for WOLFMAN by the way).

But back to love. More than any other detail, the part of love that I thought the movies always got right was the kiss. Tender kisses, deep kisses, sad kisses...kisses involving a superhero hanging upside down. In an age where many are obsessed with turning on the jets to get to second or third base, it seems as though hitting a solid single and enjoying first base has become undervalued.

Thankfully, the movies have always known the joy that comes from a really good kiss, and they've given us some good ones over the years. So in honour of all the overpriced roses and cavity inducing chocolates we tend to clamour over, allow me a moment to celebrate some cinematic snoggin'. I give you...

Hatter's Top Five Favorite Movie Kisses

#5. Lena & Barry, PUNCH-DRUNK LOVE... It's actually just the shot that makes me smile here, which is cool since we don't really get a great look at the kiss itself. there's some real charm to their embrace: the way Lena's leg has that classic "pop" starting, and Barry seems to be awkwardly hunched like the sort of guy who really doesn't get to kiss someone so beautiful all that often. It has a sweet clumsiness to it, while being shot so elegantly.

#4. Josie & Sam, NEVER BEEN KISSED... In a small way, this selection is a Valentine's Day wink for Lady Hatter since it's a movie she likes a lot more than me. That said, I can't say I'm opposed to the idea of kissing a lovely lady on the pitcher's mound in front of a ballpark full of people, though I was a backstop when I played so home plate would likely be my first choice. Still, kissing that special someone anywhere on a diamond as The Beach Boys are playing on the soundtrack is nothing short of pure romance.

#3. Mitch & Mickey, A MIGHT WIND... When the veil of dreams has lifted / And the fairy tales have all been told / There's a kiss at the end of the rainbow / More precious than a pot of gold... I'm deeply in the minority in claiming this as my favorite Christopher Guest movie, but I think it's because it gives us this brief moment of tenderness amongst all the lunacy that seals it for me. By the time Eugene Levy and Catherine O'Hara reach this final chorus, you really do find yourself hoping for this kiss to happen. And when it does, it doesn't disappoint.

#2. LADY AND THE TRAMP... I would have put their names, but that seemed redundant. This kiss celebrates the innocence of young lovers, and the excitement that can come from not knowing the kiss is coming until it's happening. It's a kiss that takes a perfect evening...food, music, moonlight...and seals it into romantic perfection. Unfortunately, it also turned a really young Hatter into "That boy who keeps kissing the girls in class".

#1. Karen & Sgt. Warden, FROM HERE TO ETERNITY... This is the gold standard. the moment of unbridled passion that we should all strive for. Of course, nowadays, who knows what debris those waves would drag up to these lovebirds, but that's not the point. the point is that these two find a place of perfection on earth and do the impossible...they make it even more perfect. If you're honest, you know deep down that you've always wanted to live out this moment with someone special (and if you have - kudos!). For that, this takes the cake as my favorite movie kiss.

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

Midnight Radio: The Matineecast Episode 6

The last few weeks have been exciting for this particular podcaster. Along with the swell reactions I've got from episode five and five-point-one, I also got to take a spin in the guest chair while taking part in my very first LAMBcast.

However, it hasn't been all bread and roses for my podcasting habits. The iTunes music store seems to have screwed up my feed, thus new episodes don't seem to be getting to them for the time being. So if you're the sort to listen to my work on the go and want to download the mp3, I'd suggest going here and subscribing to the Google or Yahoo feeds.

Edit: Scratch that. iTunes has wisened up and now both this episode and The Oscar Special are available through the iTunes Music Store.

But back to the fun stuff...might I present the Ryan Howard episode



Here's what's in store in episode six...

Runtime
44 minutes

Up for Discussion

1. My brief introduction (0:00)
2. Q & A with this episode's guest, Shannon The Movie Moxie. (1:10)
3. News - Controversy at The Sundance Film Festival, and Miramax closes up shop. (7:54)
4. Review and reaction of CRAZY HEART (12:57)
5. Our Top Five Music Movies. (22:17)

Comments and feedback are welcome, and thanks very much for listening.

Enjoy!

Review: THE BLIND SIDE * * 1/2

Preconceptions are a funny thing. Lofty expectations on something that under-delivers make us feel that much more ripped off. I can't count the number of films that have spiked my anticipation based on names involved, trailers seen, and reviews read. But of course, this works both ways. Take a film that seems lousy and gets middling reviews, sit down prepared to dislike it...and you can be surprised at the fact that it turns out rather likeable.

THE BLIND SIDE is the story of Michael Oher (Quinton Aaron). Born into the slums of Memphis, Michael's mother is a crack addict and his father has left. He is cared for by foster parents, one of which convinces a Christian private high school to enroll him. The school does so, despite the fact that Michael can't seem to keep up with the lessons in class.

Michael unsuccessfully tries to hide the fact that he's a sliver above being homeless. He wears the same clothes everyday, eats popcorn left over after high school sports events, and wanders the streets at night. During one particular night of wandering, he's noticed by Sean and Leigh Anne Tuohy (Tim McGraw and Sandra Bullock). Something about his situation strikes a chord with Leigh Anne, and she insists on reaching out to him, and offering him a place to stay.

Slowly, The Tuohys embrace Michael deeper into their family. They take him in permanently, and try to help him do better in school. Their support does the trick and soon enough Michael's grades are good enough for him to play high school football. A pretty fortunate thing too, since it turns out Michael is a pretty good left tackle...the position responsible for defending the quarterback's blind side.

Pretty soon, the boy who was eating leftover popcorn is getting calls from every major college in the south offering scholarships.


Much has been made of Sandra Bullock's performance in this film, and I for one cannot jump on board. Bullock's performance feels very ordinary, and in many ways feels like something I've seen out of her before...possibly with darker hair though. Indeed her acting is snappy, but she doesn't seem to command a room the same way that Julia Roberts did in her similar role, ERIN BROCKOVICH. While I cannot commend Bullock for showing us something anything we haven't seen yet, I do hope that this is the beginning of better things for her.

The movie takes a wild detour in its final act, which might be based on fact, but still doesn't fit the flow. The detour begins with a conflict that drew me deeper into the story. I don't want to give much away because I felt it was an important, and somewhat unforeseen question that needed asking. However, when trying to resolve the situation, the story goes back to Michael's home neighbourhood. After everything Michael had already gone through, this move felt like it was happening far later than it should have.

Quite simply, THE BLIND SIDE is what it is. I sat down wanting to hate it and tear it apart as sentimental fluff...but I can't. It's not nearly as bad as it could have been, nor nearly as pandering or insulting. It's mainstream for certain, however, the heart of the story is too great to dismiss. Just because it isn't a great movie doesn't make it a bad movie. It takes a true story and gives it a fair look. Sure, there are more than a few moments that make the film feel like it should be showing on the Lifetime Network on a Saturday night, but they are fleeting.

In the Oscar preview edition of my podcast, Shane asked me what I'd do if THE BLIND SIDE won best Picture at The Oscars next month. Without hesitation, I said "I'll quit blogging". While I'm not about to claim contentment at the possibility of the film taking such an honour, I can say that worse things have happened. THE BLIND SIDE isn't a perfect movie...but none of them are.

What did you think? Feel free to leave comments with any thoughts or reactions on THE BLIND SIDE.

Gonna Fly Now

Today, I Feel Like This...

Everybody's Talkin' 2 - 5 (Chatter From Other Bloggers)

You had better believe that everybody is talkin' this week - namely me!

Wednesday night I went on a record/edit/post bender to get the Oscar podcast up at breakneck pace. Saturday, it seems as though after many false starts, I will finally be a part of my very first LAMBcast. Finally, on Monday I'll be posting the next regularly scheduled episode of my podcast! Anyone getting tired of listening to me talk yet? Looks like it's gonna be a busy month - hope y'all are ready. Meanwhile, elsewhere in the blogosphere, true awesomeness is being written daily...

So, for your reading fulfillment I give you...

Bored of Oscar talk? Black Sheep has you covered - He's handing out his annual Mouton D'Or Awards.

Jake from Not Just Movies has written a pretty swell review of CHE - one of the more underrated films of the last year or two, and my latest dvd purchase.

The Flick Chick, who wanted to share a few things she's learned at the movies over the last ten years.

Katie at The Stories That Really Mattered takes a moment to compare BAFTA nominees to the Oscar nominees.

I thought I'd seen everyones, but here's RTM's list of the top films of the year and the decade.

Load up on gins - Andrew isn't too fond of CASABLANCA!

Finally, Caz has listed off some warning signs that you might be movie-obsessed.

Enjoy!

Midnight Radio: The Matineecast Oscar Special

Surprise! For a moment or two i thought about typing out my Oscar thoughts...but then I asked myself, what fun would that be?

Instead, I have run the hurry-up offence on a very special Matineecast, one where Shane the Oscar Aficionado has sat down with me to talk nominations, predictions, and overall Academy curiosities.

Ladies and gentlemen, The Mad Hatter's Oscar Special...



Here's what's in store in this special episode...

Runtime
49 minutes, 17 seconds

Up for Discussion

1. My brief introduction (0:00)
2. Q & A with this episode's guest, Shane. (1:11)
3. Rundown of nominees for all acting categories, screenplay, directing, and best picture (7:06)
4. Moving from 5 to 10 Best Picture nominations. (25:00)
5. Films not nominated (29:28)
6. AVATAR vs. THE HURT LOCKER (32:36)
7. 1994 or "Art vs. Commerce" (39:16)
8. Early predictions (43:38)

Comments and feedback are welcome, Happy Oscar Season, and thanks very much for listening.

Enjoy!

Back to Basics - THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT

If I hadn't seen this movie before, its opening - featuring a drag queen doing a lip synch performance - might lead me to believe I'd cued up another David Lynch movie. But nay, this is the most fitting intro possible for the celebration of all things outlandish. I give you THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT...the next movie up in the 1001 Series.

Our story stars Terrance Stamp, Hugo Weaving, and Guy Pearce as Ralph, Anthony, and Adam. However, you'll seldom hear these three headliners addressed so common. To the masses they are Bernadette, Tick, and Felicia, some of the best lip synching drag queens in all of Sydney. When Tick's ex-wife asks him to come perform at her hotel in the middle of nowhere, he manages to convince Bernadette and Felicia to come along with. Travelling in style is a must though, thus they pile every feather, heel and sequin they can into a Ford Denning bus - a chariot they dub "Priscilla".

What ensues is a classic road movie; filled with self-discovery, growth of character, and disco. Lots and lots of disco. It all actually combines to turn into a rather epic spectacle. A good chunk of the film is spent in the Australian Outback, during which the ladies take every opportunity they can to rehearse and perform. In an unexpected way, it is very much about being at one with the earth. Felicia takes advantage of this the most, partaking in one of the film's most iconic moments - lip synching to La Traviata.

His commitment to the moment, and the way his extravagantly long costume billows behind the bus allows him to become a sensational part of the environment, rather than just watching it go by. Of course, such a connection between the earth and the individual were a catalyst for Felicia going along. It's his dream to scale King's Ayer's Rock, in full drag and look out over the wilderness. Of course, he sees the grandeur of such a moment, where bernadette can only prod him by declaring such a goal as "A cock, in a frock, on a rock."

While PRISCILLA is very much about being proud of who you are, it also has moments of being a dark fable. Our heroes have no reservation about walking the strip of small town in full drag, inspiring as much shock and awe as you would expect. However, every time they do so, they court more than just insults. They tempt true hate, and even violence. It's a sad revelation just how much protection their home community affords them...protection that can't always be won over by a top notch staging of "I Will Survive".

Still, these dangers can't take away from the core message; PRISCILLA is all about being an individual, and being able to count on the ones you love. Very little of what these three men do is something that must be done. However, if any of them were to say "no" to the various things they are asked, they would be letting those closest to them down. PRISCILLA wants us to remember that while you might be able to wow a crowd with your ABBA routine, if you can't be there for your friends and family, you'll never be a true headliner.

But Hatter, Is It List-Worthy?...Once again, this is more cult-classic than film-lit classic. Watching drag queens work their wigs and wield their wings might not be your style. Indeed to be fair, it's a bit jarring to watch General Zod, Agent Smith, and Leonard Shelby go full drag. Then again, this movie is worth a look just for the ping-pong ball trick alone.

Yesterday (NOWHERE BOY Trailer)

Note: If you're curious about my thoughts and reactions to the Oscar Nominees, check back tomorrow morning - I'll have my thoughts up then. For now, I return you to our regularly scheduled blog. ~ MH

I can't believe I haven't written about this film already. I must thank Moxie for pointing out the error of my ways and reminding me to post the trailer of a film that seems to be after my heart.

Before he was The Walrus, he was just a boy...

82nd Oscar Nominations

It's one of my favorite days of the year. Nominees in the top eight categories coming up. Nominees in all other categories after the jump just as fast as I can type...

Best Picture:
AVATAR
THE BLIND SIDE
DISTRICT 9
AN EDUCATION
THE HURT LOCKER
INGLOURIOUS BASTERDS
PRECIOUS
A SERIOUS MAN
UP
UP IN THE AIR

Best Director:
Kathryn Bigelow, THE HURT LOCKER
James Cameron, AVATAR
Lee Daniels, PRECIOUS
Jason Reitman, UP IN THE AIR
Quentin Tarantino, INGLOURIOUS BASTERDS

Best Actress:
Sandra Bullock, THE BLIND SIDE
Helen Mirren, THE LAST STATION
Carey Mulligan, AN EDUCATION
Gabby Sidibe, PRECIOUS
Meryl Streep, JULIE & JULIA

Best Actor:
Jeff Bridges, CRAZY HEART
George Clooney, UP IN THE AIR
Colin Firth, A SINGLE MAN
Morgan Freeman, INVICTUS
Jeremy Renner, THE HURT LOCKER

Best Supporting Actress:
Penelope Cruz, NINE
Vera Farmiga, UP IN THE AIR
Maggie Gyllenhaal, CRAZY HEART
Anna Kendrick, UP IN THE AIR
Mo'Nique, PRECIOUS

Best Supporting Actor:
Matt Damon, INVICTUS
Christoph Waltz, INGLOURIOUS BASTERDS
Woody Harrelson, THE MESSENGER
Christopher Plummer, THE LAST STATION
Stanley Tucci, THE LOVELY BONES

Best Original Screenplay:
THE HURT LOCKER
INGLOURIOUS BASTERDS
THE MESSENGER
A SERIOUS MAN
UP

Best Adapted Screenplay:
DISTRICT 9
AN EDUCATION
IN THE LOOP
PRECIOUS
UP IN THE AIR

Best Animated Film
CORALINE
FANTASTIC MR. FOX
THE PRINCESS AND THE FROG
THE SECRET OF KELLS
UP

Best Documentary Feature
BURMA VJ
THE COVE
FOOD, INC.
THE MOST DANGEROUS MAN IN AMERICA
WHICH WAY HOME

Best Art Direction
AVATAR
THE IMAGINARIUM OF DR. PARNASSUS
NINE
SHERLOCK HOLMES
THE YOUNG VICTORIA

Best Cinematorgaphy
AVATAR
HARRY POTTER & THE HALF-BLOOD PRINCE
THE HURT LOCKER
INGLOURIOUS BASTERDS
THE WHITE RIBBON

Best Editing
AVATAR
DISTRICT 9
THE HURT LOCKER
INGLOURIOUS BASTERDS
PRECIOUS

Best Foreign Film
AJAMI
EL SECRETO DE SUS OJOS
THE MILK OF SORROW
UN PROPHETE
THE WHITE RIBBON

Best Original Score
AVATAR
FANTASTIC MR. FOX
THE HURT LOCKER
SHERLOCK HOLMES
UP

Best Original Song
Randy Newman - "Almost There", THE PRINCESS & THE FRONG
Randy Newman - "Down in New Orleans", PRINCESS & FROG
R. Wagner, F. Thomas - "Loin de Paname", PARIS 36
Maurey Yeston - "Take it All", NINE
R. Bingham, T. Burnett - "The Weary Kind", CRAZY HEART

Best Visual Effects
AVATAR
DISTRICT 9
STAR TREK

Best Sound Editing
AVATAR
THE HURT LOCKER
INGLOURIOUS BASTERDS
STAR TREK
UP

Best Sound Mixing
AVATAR
THE HURT LOCKER
INGLOURIOUS BASTERDS
STAR TREK
TRANSFORMERS 2: REVENGE OF THE FALLEN

Best Costume Design
BRIGHT STAR
COCO AVANT CHANEL
THE IMAGINARIUM OF DR. PARNASSUS
NINE
THE YOUNG VICTORIA

Best Make Up
IL DIVO
STAR TREK
THE YOUNG VICTORIA

Doubleback: MOON

If the cloud bursts thunder in your ear,
You shout and no one seems to hear,
If the band you're in starts playing different tunes,
I'll see you on the dark side of the moon...

That classic bit of prog rock sums up my last bit of DVD watchin' quite nicely I'd say!

Sam Rockwell plays Sam Bell, an employee of Lunar Industries who is the sole person manning a station on the moon that is harvesting a new energy source and shipping it back to earth. He's in the tail end of a three year contract, and it's in these last two weeks that things start to get a little strange up there.

MOON is the sort of film I gravitate towards. It's the kind of story that shows an actor's mettle given that Rockwell has very little else to play off (in a perfect world, he'd land a Best Actor nomination tomorrow). It's actually no small wonder that I'm drawn to the film since it's also a rather sombre and dreary story, helmed by first-time-director Duncan Jones. Strangely though, even though the running time is a rather svelt 90 minutes, I felt it dragged a bit in the beginning of its final act.

My expectations of this film were an odd beast...after all Univarn did call it the best movie he'd seen this year. For me, it couldn't dislodge THE HURT LOCKER from the top slot - nor would it cause me to re-jig my top five. However, I can see what Univarn liked about it so much, especially how its subtelty and introspection speaks so beautifully.

While it didn't completely knock me out, I must admit - I do wish I'd seen this movie in the dark seclusion theatre. Given the plot, it would likely have been a more apropos experience!