CategoryReviews

Logan (2017)


Quality : HD
Title : Logan
Director : James Mangold.
Writer :
Release : 2017-03-01
Language : English.
Runtime : 135 min.
Genre : Action, Drama, Science Fiction.

Synopsis :
Logan is a movie genre Action, was released in March 1, 2017. James Mangold was directed this movie and starring by Hugh Jackman. This movie tell story about In the near future, a weary Logan cares for an ailing Professor X in a hide out on the Mexican border. But Logans attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces.

American: The Bill Hicks Hagiography

There I go giving away my conclusion. Ah well. Anyways: American: The Bill Hicks Story is on Netflix streaming, and if you don’t know Bill Hicks you oughta watch it. If you do know who he is, you can watch it to get all pissed off all over again, or you could watch it because there’s some really cool footage of his teenage comedy act.

The problem I had is that the movie shows Hicks as a saint. Even when he’s going through his alcoholism, it’s not really his fault. He hung around with a dangerous crowd, right? And he got off alcohol soon enough, after which it’s smooth sailing until he dies of cancer in the most polite, family-oriented, sane way possible. The movie was authorized and supported by his family, who come across as really decent people. His parents didn’t object to his comedy, which is saying something. But I still suspect the seal of approval might have gotten in the way of any real examination of the man.

I’m still glad I saw it. There’s a 60 second clip of his infamous heckler routine — the bit in Chicago where he gets heckled early on and decides to turn the evening into a brutal, stop and go, stutter-step deconstruction of the relationship between audience and comedian. I’ve seen the whole thing, cause it’s on YouTube, and the brief clip in the movie is worthwhile all by itself. I just wish the movie spent more time thinking about the alchemy that transmutes anger like that into comedy like that.

YAPKDM

The Adjustment Bureau is carried a long way by Matt Damon and Emily Blunt, with an assist from Terence Stamp, but the directing was indifferent and the script wussed out in the end. And at a crucial point in the middle; watch for the library scene, where we find out that much of the central philosophical dilemma is completely irrelevant.

It’s a Philip K. Dick movie, so you kind of have to know the odds aren’t that good going in; you expect to get an interesting mindtwist of a premise executed without total commitment on the part of the director/screenwriter. Check on all counts. I put this one a bit higher than most, just because Damon and Blunt were so good. Awesome chemistry, great acting. But this is George Nolfi’s first movie, and man, even the experienced directors tend to hit the reefs on Dick adapatations. He also wrote the screenplay, so I can confidently blame him for everything I disliked.

Which is to say that the ending fails to take risks. It’s comforting rather than dangerous. You can read the original story, which is quite short. In the end of that one, our protagonist willingly compromises to save his own skin. In the movie, it’s not surprising that Matt Damon gets a happy ending, but it is disappointing. There’s a reading in which he sacrifices a great deal to get that happy ending, which is in fact the surface reading, but I’d point out that certain parties spend the whole movie lying to Damon and he knows it. I’m not sure he’s made any real sacrifice at all.

Also, someone better could have turned the hat chase scene into something really special. So lost opportunity all around. It’s still totally worth a matinee, because of the acting, but not more than that.

Two Ice Cream Books

I got two books on making ice cream. I’m very pleased with one; I am not so pleased with the other.

Perfect Scoop is really good. David Lebovitz was a pastry chef at Chez Panisse and he cares a lot about good ice cream; his cookbook gives a nice solid grounding in ice cream theory and then rolls into a ton of recipes. There are also sections on granitas, toppings, and things to serve ice cream in. It’s a very foodie cookbook but it’s also very practical — there are not a lot of super-weird ingredients and he’s not snotty about using just the right thing.

His blog has a lot of recipes, not limited to ice cream, but you can get a feel for his techniques and style with this one. Which sounds great, but I do like white chocolate. You may note that his recipes tend towards using less sugar than the average, which is a plus for me. Not that I don’t like sweet ice cream; however, a guide to less sweet ice creams is good.

Finally, it’s a really pretty book. Lots of nice ice cream photography. Ice cream isn’t the most interesting subject in the world (look, another scoop of frozen dairy in a glass bowl!). On the other hand it gives me a good idea of desired textures.

So that’s the good. Bad: Ben & Jerry’s Homemade Ice Cream & Dessert Book. The history of the company is kind of interesting but the recipes, OK. They mostly have eggs, and there is no cooking of the eggs. It’s an entire cookbook full of raw eggs. Grrr. This tells me there’s not much thought given to the recipes, and it also tells me they weren’t that concerned with really giving away how their commercial ice creams are made, because I’m also pretty sure we’d figured out salmonella by 1987. Don’t buy this one, it’s not worth it.

Review: Sha Po Lang

I took advantage of a Christmas Amazon gift certificate to fill a few holes in my old Hong Kong movie collection plus make a gesture towards catching up on more recent Hong Kong flicks. I know the Hong Kong movie scene is never going to be quite what it was back in the day, but it’s not like the last decade was a wasteland or anything. I’m behind!

Thus Susan and I watched Sha Po Lang last night. (You’d find it on US video shelves as Kill Zone; despite Miramax’s reputation and the horrendous new title, it’s an unclipped unmangled version.) Simon Yam was the big draw for me, cause I’ve always thought he’s a great Hong Kong character actor, plus it’s got a great rep, plus of course Sammo Hung and Donnie Yen.

So that was a good choice. As heroic bloodshed movies go, it’s not all that heroic, plus it’s more of a martial arts movie than a gunplay movie. It’s coming from the same place as the old John Woo classics, though, just without the moral brightness. The fight scenes are superb, the brutality is sudden and deft, and the personalities are turned up to eleven.

Although, you know, I’m probably doing it an injustice there when I bring up heroic bloodshed. The thing that makes Sha Po Lang really stand out is that the characters are nearly universally dark. Yeah, the propulsive anger that powers the movie is related to Chow Yun Fat’s righteous fury from any number of movies, and the sense of brotherhood is there, but this movie — like Infernal Affairs, to which it owes a great debt — is a deconstruction of the heroic bloodshed myth. Rogue cops are not always forces for good.

Possibly Sammo Hung’s role as a villain — “the first time I’ve done that in twenty-five years” — was also part of that. I’d love to ask Wilson Yip what he had in mind there.

Oh, and if you’re the kind of sad person who won’t go out and rent a movie on my say so, you could always watch this fight scene, which is awesome, but you ought to let the movie build up properly instead of watching it out of context.

“Mother Hen”

We started a new year of glorious movie-going with Sherlock Holmes. It was better than I expected, but it did not rise to brilliance.

The raw material is pretty raw. Checking — yeah, fairly inexperienced screenwriters who haven’t written anything great; I don’t imagine the script gave anyone a lot to work with. I give the writers credit for knowing their Alan Moore, though. (Blackwood is Gull. Ritualistic killing of women in order to bring about a future in his own image? Been there, read that.) Despite stealing from the best, though, the story was simple and uninspired.

Guy Ritchie is Guy Ritchie. Things explode. On the whole it was a touch more subtle than anything else he’s ever done, which may or may not have been due to the acting. I found his camera work on the frenetic side, and I’m usually highly tolerant of quick cuts. It wasn’t a work of great craft, really. The epitome of this would be the Holmesian fighting style.

There’s a fun bit in the first five minutes where Holmes pauses for a split second, maps the fight out in his brain based on his observations of the target, and then executes. It occurs to me tangentially that perhaps the writers know their Grant Morrison JLA as well. Shades of Prometheus? I may be overanalyzing. In any case, Ritchie gives us the sequence twice: once as imagined, once as enacted. It ought to be great, but it isn’t, perhaps because there’s never any payoff. It’s just a thing, and it’s only used in the trivial unimportant fights. You’d expect him to use it and fail to demonstrate how scary an opponent is, or at least to use it, but nope. It vanishes a third of the way through the movie, never to be seen again.

So obviously and in retrospect unsurprisingly, it’s up to Jude Law and Robert Downey Jr. to elevate the thing. Which of course they do. Downey’s Holmes hooked me in the sequence where his need to show off undercuts his friendship, because it’s played for laughs — ha ha, look at Holmes get pissed off and incisive — until he’s actually wrong about a key point. Which leads to bitterness. Which transitions directly into a sequence of self-destructive Holmes. Which is perfect.

I loved this vision of the characters. Holmes is a dangerous, angry, haunted man. Watson is compelled by his friend’s brilliance, and is also pretty dangerous. Ex-army, so he should be. Great work from both actors.

The women have much more thankless tasks. Kelly Reilly’s Mary is surprisingly strong, and is one of I think two characters in the film who ever get the best of Holmes. I think this is absolutely necessary in order to maintain the Holmes/Watson/Mary love triangle, but still, it’s a good bit. In fact, I think she has the edge on him twice. Still and all, it’s a very slight role.

Alas, Rachel McAdams is stuck with the “major” female part, in which Irene Adler is relegated to a helpless pawn. For a master criminal, an awful lot of people out-think her, and she needs rather a lot of saving. I was disappointed.

One line review: rompity romp romp romp. I liked it.

Twenty Palaces

I just read the debut novel from Harry Connolly, Child of Fire. It’s urban fantasy/horror with a crime fiction feel: if you’ve ever read a book where a couple of investigators roll into a small town and clean up some corruption for their own reasons, you know the approach. There’s an excerpt available.

I’ll give it a solid B. The plot gets a bit complex in the middle; I think I counted at least four distinct factions in the town, which is sort of a lot. The writing’s good, the protagonists are reasonably interesting, and the world’s good. You can tell it’s designed as a series, with lots of back references to origin stories. There are rules about how magic works.

I like the idea of a secret society — the Twenty Palaces — which ruthlessly eradicates magic. I like the source of magic. Connolly writes good creepy modern monsters. I read someone calling him Lovecraftian, but that’s wrong: he’s mining the same post-modern horror vein as Esoterrorists. The scene where he confronts the source of the town’s problems is pretty darned good.

Let’s Put On A Show

Susan and I caught the So You Think You Can Dance tour last Thursday. I’m not sure I’d shell out for the season 6 tour, but I had more fun than I expected at this one.

As expected, it was relentlessly full of tweens and parents, with a scattering of oddballs like us. The overall vibe, as Susan noted, was a high end Disney show. I imagine they’ve learned from High School Musical and so forth. The dances, of which there was not enough, were situated in a rather bland pudding of dancer banter. These kids are not in fact trained in the ancient art of standing on a stage and sounding conversational, excepting of course Evan. It showed.

Most of the dances were refined and tuned from the show versions, to good effect. Different intros, better performances, and so on.

Best dances, not in order:

Kayla and Kupono’s addiction dance. It brought me to tears again. Kupono’s overwrought performance style fit the theme and Kayla does vulnerable very well.

Phillip’s solo. He got a full solo; everyone else had a show-style 1 minute solo, but the Chbeeb got a few minutes to do what he does. He got the biggest solo ovation of the night, too (with Brandon as #2 in that regard). His sense of rhythm and bodily control are superb.

Brandon and Janette’s pop contemporary dance. The thievery dance, I suppose you’d say. Lovely and fresh as always.

Biggest surprise:

Randi and Evan’s samba. Of all the ballroom dances to include, that was the second one, after Brandon and Jeanine’s pasa doble? But it was really good. Randi seems a lot more relaxed now that she isn’t competing, and they really rocked it. Randi and Evan were a solid couple and if any couple not named Brandon and Janette was gonna get two dances on the tour, I suppose they’d be the ones.

Biggest disappointment:

No solo from Janette, no Brandon and Janette ballroom, etc. Maybe she was sick? It seems like a pretty glaring omission. I mean, she’s the one person who didn’t get a solo, out of all twelve performers.

Rope Ends

In episode 3 of FlashForward:

  1. The Center for Disease Control requests money from the Department of Homeland Security. In 1991. Which is somewhat prior to the date the DHS was founded.
  2. The only person in the world who notices all the crows in the world dying during the flashforward blackout is a Nazi prisoner.
  3. After all the crows in the world die, the crow population magically recovers.
  4. Approximately every single cast member explains that the world has changed, and we are all prophets, and we know our future, and the world has changed as a result. In case you hadn’t heard.
  5. Jack Davenport does not appear.
  6. Dominic Monaghan does not appear.

Sorry, semi-promising new SF show! Your time is up. Anyone still watching can let me know if it gets any better.

Second Go-Round

The season two premier of Dollhouse got lousy ratings, which it deserved. The problem’s highlighted in the climatic scene, where Eliza Dushku is flipping through identities. You can’t really tell the difference between them. Which kick-ass identity is the meaningful one?

Kind of sad, insofar as Fran Kranz and Amy Acker knocked their scenes out of the park. Whedon just isn’t all that great at casting female leads, I guess.

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