Reviews

Most of the movies which claim to be based on true stories aren’t. Odd, that the one recent work of fiction that really is rooted in fact (original) doesn’t mention the true story at all. And now, over on IMDB, the commenters mock The Terminal for an implausible premise. Funny old world. Anyhow: The Terminal is a really tasty eclair. It’s not deep but it’s awfully yummy and you can’t beat chocolate. It’s a very human movie, with a fine degree of attention towards choices and the difficulty of making them. At the heart, it’s about people caring about each other and it manages this without being schmaltzy. I smiled a lot, and I laughed a couple of times. ...

Yep, I saw it. Chances are most people reading this will have seen it or will intend to see it (and for the rest, read on for a special offer). So instead of reviewing, I’ll ramble. It’s a Michael Moore movie. From some comments I read previously, I expected it to be less of a polemic, and perhaps more objective. Nope — he’s narrating the thing and even if he doesn’t come out in front of the camera much, it’s still got a heaping helping of Moore sarcasm and innuendo. I think I could have done without mocking members of the Iraq War coalition; even if I don’t think Costa Rica made a significant contribution to the war, I still believe the country deserves the same respect as any other sovereign nation. And I noticed that Moore left out England and Spain when listing coalition members. ...

I’m only a few pages into the new Delta Green novel, Denied to the Enemy, and I will no doubt finish it. However, I am overwhelmed with a strange compulsion to rant. First I will quote. Before he joined in 1938 he was frightened almost all of the time. Oh now, how he missed those innocent days. Since his induction into the group Bruning was in a constant state of paranoia and fear. The things he had seen! The way his world had changed in under one year! He had a skill you see, a talent with language which was necessary for the group to achieve its goals. Bruning had studied many ancient tongues and was lettered in three very difficult ones. In addition he had a skill with cyphers, something developed during a stint at Oxford and his study of the works of John Dee. If only he was not so clever! His mind, something he had considered a blessing in his murky past now was a terrible weapon at the disposal of the Reich, and although the intangible front he fought upon was won or lost through the study of words, of meanings and innuendoes and secrets, the casualties caused by such battles were real enough. ...

After seeing Napoleon Dynamite, I am greatly heartened to know that should something happen to Wes Anderson we’ll still have someone to make Wes Anderson movies. Very minimalist, very charming if you don’t assume it’s intended as mockery of the title character. Dryer than the average Wes Anderson movie. I liked it.

The Chronicles of Riddick was not as good as I wanted it to be, but it was also not as bad as I feared it might be. It’s the perfect Warhammer 40K movie; there’s very little pure good in the world, the antagonists have psionic powers, and there’s lots of blood and guts. If you can’t take a guilty pleasure in spiky bitz, it’s not a good movie for you. If you can, then it’s worth the viewing. ...

John Tynes claims, accurately (original), that Dirty Pretty Things is the “best damn film of the year.” So far, true. Stephen Frears has turned out another little gem. He paints the story using the edges of society, creating art with the conventions of the dark thriller genre. It’s not just a thriller, and it’s not just one of his social pieces; it’s an elegant braid of both. Audrey Tautou kind of slips into the impish Amelie persona once or twice, which is a little odd for someone playing a Turkish immigrant, but it more or less works. The rest of the acting was superb. Benedict Wong was especially good, and got the best line in the movie in the best scene of the movie. Lucky guy. ...

I’m normally not much of a Harry Turtledove fan. I found the Worldwar series to be incredibly long and dull with poor characterization and fairly uninteresting aliens. He clearly knows his history, but he wasn’t so good at getting the story across. For some reason I took a plunge on American Front anyhow. Surprise, it was remarkably readable. I think this is perhaps because there’s a whole lot of populism in it, and I’m a sucker for populism at the moment. So I went ahead and read the whole trilogy, and then the second trilogy set in the same timeline, and now I’m waiting for the next one. ...

I’d been pretty pleased with the Freaks and Geeks DVD set through six episodes, but in the seventh episode the beautiful new girl in class walks into the room in slow motion to the dulcet strains of Billy Joel’s “C’etait Toi.” And Jason Schwartzman guest stars. Now I’m just wholeheartedly recommending it. 18 hour-long episodes, drama with a lot of comedy to it, teenagers in a Wisconsin high school. Not unlike That ’70s Show, except not played for laughs. Decent acting, mostly by people who didn’t act much before or after — I’m sure there’s a story to the whole ensemble and how the show got made, but I dunno what it is. Painful if you don’t want to relive your high school years.

The Atrocity Archives is pretty enjoyable if you’re part of the vanishingly small target audience. I like espionage novels, and I’m a computer geek who knows a fair bit about the history of the field, and I like H.P. Lovecraft, so the book worked for me. But man, it’s dense-pack fiction. You need to know who Turing was and it helps to understand what a device driver is and you ought to be steeped in sysadmin/programmer culture and the espionage bits build on the work of Le Carre and Len Deighton. ...

Belatedly: yes, Kill Bill: Volume 2 is a big fat pile of talkative fun. It is not as violence-packed as Volume 1, but it is certainly a tale of bloody revenge and the fight scenes are top-notch. Tarantino’s obsessed with flashbacks and non-linear storytelling, right? So Volume 1 is the action, and Volume 2 is a kind of weird metaflashback that goes back over all the violent impulses and actions of the first volume and explains the motivations behind them. ...