The show that spanned over three decades is back. The show that got me (and a big chunk of my family) hooked on movies, er, on films – is heading back to television. We’re willing to forgive ABC and Disney the last few years of less-than-stellar reviews (and hosts), along with terrible past-midnight timeslots. We’re going to ignore the fact the Gene Siskel is long gone, and Ebert is only vocal in his massive twitter and blog universe. We’ll even put up with a bunch of new hosts, and new ideas – which may make it better, or may not. We just want to watch.
This quiet little gem of a movie came out of nowhere last year at Toronto Film Fest, and we really hoped it would pick up. Sadly, almost a year later, it’s gone through a handful of European film fests, and disappeared. Too bad. Bunny and the Bull really deserves to be watched, in small groups of friends, or family – because it’s about true friendship. It’s about understanding and accepting each other no matter how freakishly odd you may be. It’s about compromising and going left, just because a friend thinks it’s the way to go – even as your whole entity wants to turn right. It’s about the little sacrifices we make for friends (or in the name of friendship) every day. This is what ‘bromance’ should be – mature, respectful, solid and at times – tender.
Todd Solondz’ latest film is considered by many to be a sequel to 1998’s Happiness. But personally, it is a little too different, much shorter, and somehow even has a lighter tone than Happiness. Or have we all gotten so used to bleak/black humour, and pathos in film, that this latest entry just doesn’t move us anymore? Has the past decade hardened us – even to the archetypes that are easy to write and laugh at – narcissistic, self-centered ‘artist’; over-the-hill single mother, still hoping for romance; surly, vindictive teenager? Maybe the title sets the expectations too high – after all, it is the end of the 9/11 decade. Continue reading “Life During Wartime (2009) – sequel to Happiness?”
I first saw Agora at TIFF in Toronto almost a year ago, and remember walking out thinking: “this film will not find a distributor easily (if at all), and that’s a real shame”. You see, it’s a ‘swords and sandals’ epic story, loosely based on the events in Alexandria, Egypt in 4th century. It shows the famed library, and the emerging scientific renaissance that unfortunately takes a step back, when this new world brings in young, volatile religions, and things start to turn violent.
You see, the “bad guys” in this film are Christians – shown as a vicious, brainwashed crowd that slowly grows in strength, dismisses the (populist at the time) multi-god religion, and instead, shoves early version of Jesus mythology down people’s throats. It’s an intellectual conquest in reverse – tell the masses what they want to hear, discourage learning, and turn them against the popular rule. The film features a few massacres, and the eventual burning of the priceless library (also loosely based on historical facts), which directly and simply accuses religious zealots – especially early Christians – of intolerance and dirty political shenanigans. Sounds familiar? Something we’ve witnessed in recent years? Well, no wonder the reviews at the time were harsh, and the film really couldn’t get the attention it deserved.
A quick side note here – forget about the film as a spectacle, or story – and just consider the source material. Wikipedia actually lists 4 different destructions of the famous library – historically recorded (and here’s the entry on the film itself, take time to read the ‘critical reception’ section). The director (Alejandro Amenabar) just happened to pick one of them, and added some elements from surrounding events/places to punch up the drama. Notice the Muslim conquest in AD 642 – do you think this movie would even be made (without threats, suicide attempts, or negative campaining), if the bad guys were, gasp – Muslims? Just a thought – this region was handed from one empire to another for ages, and often, death and destruction was quite prominent. Nothing wrong with depictions of bigotry and violence – it DID HAPPEN, and dismissing it is an equivalent of burying your head in the sand.
If the so-called critics, and potential distributors would bother to look up the historical evens, and maybe see the movie for its ideas – the value of science, and freedom of expression – perhaps Agora would have been seen by more people.
As a spectacle, it’s a pretty good epic story, with high ideas expressed within the walls of the library, and sharply contrasted with seething, unstoppable violence on the streets. There are some great references to the beginning of the end of Roman empire, and there are dead-on observations of Christian and Jewish – still emerging – traditions and values. Politically incorrect, definitely, but making a point and drawing parallels with today’s intolerance. The whole ‘slavery’ angle is given more thought and shown as an acceptable practice – at the time. But no, this just didn’t go over well, I clearly remember people hissing in the theater, and being genuinely displeased with the way things were portrayed. Well, as an ‘idea’ movie, maybe that was the point, no? To turn the tables a little?
I felt the discomfort, but appreciated the intent – it’s the 4th century, the world is still emerging, there will be bloodshed, and there will be unnecessary destruction. As long as we remember what is lost during this turmoil, we perhaps can learn and prevent it from happening again. After all, the book-burnings were quite popular just 60 years ago in Germany. And as for the slavery – some southern states are still holding out hope that things will go back to the way they were. These people ‘want their country back’! Intolerance stays, bigotry has immense power, and knowledge/truth/enlightenment usually suffer when left unprotected. Tea Party, anyone? Fringe movements that make things worse for others?
It’s a real shame the film never got the attention it deserved. Was ‘widely’ released just a couple of months ago, and quickly died at the box office. Find it online, or rent it – you won’t like the tone and some of the finger-pointing – but I hope you will approve of the ideas and intent. The last time something similar was on the big screen was probably “The Name of the Rose”, in 1986. I still remember Sean Connery musing: “How many more rooms? Ah! How many more books? No one should be forbidden to consult these books freely.” Oh, and if you will sit through all the black and white portrayal of Christians vs. Jews (yes, the film does show a little bias, but there’s a reason for it), and wait until the closing scenes, please compare it with the opening sequence, and consider the end-credits. Knowledge is invaluable, and freedom of expression – if mixed with careful misinformation campaigns – can be a devastating weapon. Sadly, it’s still used today…
Agora. 4th century Egypt. The famous Alexandria library. Rachel Weisz, Alejandro Amenabar, Oscar Isaac, Max Minghella. Get it. It’s worth your time.
“For a brief moment there, there really seemed to be an independent film movement. Then it was over.” That’s how Dennis Hopper has described the unexpected and massive popularity of his 1969 movie Easy Rider. The little fill really did come out of nowhere and established Hopper, Peter Fonda, and a very young Jack Nicholson as the ‘fresh new faces to watch’ in the movie industry. It cost less than $500k, and left behind so many changed lives, a couple of generations who have been on the brink of a new way of thinking. The kids needed a little nudge, and Easy Rider was that tiny last straw.
For the past 9 years (yes, it’s nine, not a typo), Brad Bourland, 58, of Austin, Texas has been rating/reviewing movies. He’s got 9,331 so far, and wants his site readers/visitors to help him complete it to a nice, round 10k. Obsession, hobby, or just another slick marketing ploy? Visit his site, read up on the … hobby
Sydney Pollack has died or cancer. What a terrible loss – the director of Tootsie, The Way We Were, The Firm, Out of Africa, and so many other films – the kind of movies you never watch just once – he’s no longer with us. He was also a gifted actor, appearing in many memorable scenes from the last couple of decades – Changing Lanes, Michael Clayton, Eyes Wide Shut, The Player, Husbands and Wives.
Continue reading “Sydney Pollack RIP”
This is a strange time for top-ten lists – usually people do them around the holidays. But here’s yet another list for your pleasure. Britain’s Empire magazine has chosen the 50 best TV shows ever made. Many good, respectable shows listed here, and a few gems completely shunned. We’ll post links to similar lists shortly. What do you think are the best TV shows?
Continue reading “Best TV shows of all time”
Oh, what hopes have been dashed by this flimsy ‘Desperate Housewives’ rip-off. Oh, how I’ve waited to see Christopher Titus back on television. You remember him, from the short-lived (ok, 3 seasons is not that short) sitcom Titus – about a hilariously dysfunctional family. You probably remember all the male leads from all kinds of recent shows – Joshua Malina from West Wing and Sports Night; Michael Vartan from Alias and of course, the ever-getting-younger-looking heart-throb Dylan McDermott from The Practice. This was a dream male cast, perfectly suited to play powerful CEOs with familiar, identifiable personal issues. Why, oh why did ABC decide to go cartoony on such a solid premise?
Continue reading “Big Shots (ABC, Thursdays)”
I’ve been waiting for this movie for eight years. Subconsciously, that is. Let’s face it – ‘Elizabeth: The Virgin Queen’ was not begging for a sequel. Sure, it was left open-ended, but it was a solid, finished story all by itself. The reason I was anticipating this sequel is simple. Back in 1998, director Shekar Kapur managed to reinvent a period piece genre – with more intrigue, politics, religion, medieval marriage, all kinds of hot issues thrown in. The film was great, but chronologically it only covered Elizabeth becoming the queen. The credits rolled after her coronation. I wanted to go back to that world, there was so much to mine there. So many conflicts, factual and ‘added for dramatic effects’. I fell in love with Kapur’s visual palette, his use of camera. And yes, I fell in love with Cate Blanchett’s portrayal of Elizabeth and Geoffrey Rush as her advisor. And now they’re back. Right off the bat, you can tell the movie’s budget is bigger this time. Is it a good thing for a period piece?
Continue reading “Elizabeth: The Golden Age (2007)”