Dinner tonight: Stiles Switch BBQ, which is conveniently half a mile from our house. The place just opened; the pit master used to be the pit boss at Louie Mueller’s up in Taylor. I am no barbecue expert but I hear Louie Mueller’s is very good, and Stiles Switch made me very happy. And it’s just a few minutes away.
Category: Culture
Briefly: Fincher’s directing and Rooney Mara’s acting make it painfully clear that Lisbeth Salander doesn’t make any sense next to Mikael Blomkvist. There are two potentially awesome thrillers in both the book and the movies: one stars Blomkvist, and it’s a story about an awesome journalist who’s pretty much an auctorial stand in. The other is a somewhat more interesting story about Swedish traditional culture and the horrible things it does to women, as personified by both Harriet Vanger and Lisbeth Salander. When you mash them together, however, you get a wish-fulfillment piece in which the awesome journalist is just another man using a woman. Blomkvist and Salander should never have met.
I don’t think Steig Larsson realized this. David Fincher might. (Edit: Fincher has mentioned Blomkvist’s misogyny.) Either way, the clarity of Fincher’s directing strips away all the awkwardness of the English translation, and it’s hard to pretend that Salander belongs with Blomkvist at all. You can’t hide the incongruity by making up your own images when they’re right up there on the screen. The parallel tracks of the two central female characters become really obvious. Consider disguises — I wonder, in fact, if that’s part of why Fincher kept the extensive coda. Larsson thought his hero was a different class of father figure, but Fincher lets the darkness through.
Worth seeing. Tremendously disturbing.
Quick note, because I know some of you like Squirrel Nut Zippers a whole bunch: if you liked Squirrel Nut Zippers a whole bunch, you ought to check out White Ghost Shivers. immlass turned me onto these guys, and we took some time to see ’em playing this last weekend, and they were awesome: seven piece band doing 20s jazz, with a fairly punky modern attitude. The sound is way rooted in the 20s, but they aren’t afraid to sing about mullets and white trash. They’ve been playing together for more or less a decade, and are as sharp as you’d hope given that much experience together. Also the piano player played with Squirrel Nut Zippers some.
Everyone’s Got ‘Em is the first album after Cella Blue joined, and having a female vocalist available helped the music a bunch. Nobody Loves You Like We Do just came out this week and is also good. Audio follows.
Noted for my own reference:
11/20: Big Bad Voodoo Daddy at One World Theater
12/9: Dave Alvin at the Continental Club
2/4: Los Lobos at One World Theater (opposite OwlCon, hm)
2/29: Dropkick Murphys, Frank Turner at Emo’s East (on sale 11/18)
3/2: Solas at UT Performing Arts Center
This is ridiculously awesome. Gollancz decided to bring a lot of classic SF/F back into print as ebooks. More of this stuff should be out of copyright by now, it’s all DRMed, and two-thirds of it can’t be bought in the United States, but despite all that I’m really happy. Cordwainer Smith, Pat Cadigan, Kuttner and Moore — lots of books that should be available, and now sort of are. It’s cultural history that matters to my tribe. There are books I’m keeping in physical form just because who knows when someone will digitize all the old Gardner Fox? But efforts like this one make me hopeful.
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.
I’m calling it: John Carter of Mars is gonna be the sleeper hit of 2012. Andrew Stanton of Pixar is directing and he has a pretty good track record. Taylor Kitsch is about perfect for the role of John Carter. And the rest of the cast! Mark Strong, James Purefoy, Willem Dafoe, Bryan Cranston, Dominic West, Samantha Morton, Ciarán Hinds, etc.
I mean, not that it won’t fall prey to the geek movie trap and all. But man, that’s set up to be a huge hit. Disney’s pretty good at marketing, too, I hear.
There’s a time when I would have been overwhelmed with the news that The A.I. War was out.. In 1994, it was almost done. I barely remember who I was back then. 1994? I was still working at Netcom. Wow. In those days, The A.I. War was the next stage in a 33 book masterpiece of future history. That was exciting.
We read the first three chapters in 1998. Still excited. Well, I’m still excited now. Just differently so.
Stuff happened between 1994 and now. I don’t blame DKM for taking fifteen years to get this sucker out. My impatience pales in comparison to the pain that some of that stuff caused those involved. I still had to dull the edge of my excitement somewhere along that timeline. Plus Terminal Freedom, oof. Charitably, I don’t like Jodi Moran’s writing as much as I like Daniel Keys Moran’s writing. Uncharitably, they needed an editor. There’s way too much self-insertion and there are way too many authorial darlings in there. All in all, I wasn’t sitting around waiting for The A.I. War. Blame it on false starts and trepidation.
Now? I’m not overwhelmed. But I find I’m pleased, and yeah, excited. I think I’m excited for potential. A couple of days from now, when I’ve read it, maybe I’ll believe in the Continuing Time again. I’m glad that there’s a chance I might.
Hey, it’s time for a new Neal Stephenson novel. This one is going to be called Reamde, which is probably a gloss on README, which is funny. Particularly to me. This was announced like a year ago but I wasn’t paying attention. It’s about gold farmers in MMORPGs, and it will be nearly 1,000 pages long, and it will come out in September. That’s also funny to me, although I imagine it isn’t a reference to the Eternal September. I happily anticipate being grumpy about MMO inaccuracies.
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.