These days I’m all about comfort. My company has casual dress until January. As soon as I get home, I change into my yoga pants and t-shirt or a pair of pajamas. I’m even watching comfort TV, - cooking shows, reality programs, wrestling, and old dramas I missed twenty years ago.
It then logically follows that I also want my comfort movies. What’s a comfort movie? It’s like comfort food – something that just makes you happy inside. It’s like a bowl of chili topped with cheese and sour cream on a cold day, or a cup of Twinings English Breakfast Tea while you have your morning bagel.
My comfort film list is pretty diverse. It shouldn’t come as a shock to ANY of you (and if it does, you have no business reading my weekly diatribes) that my ultimate comfort film is “Breakfast at Tiffany’s”. It’s like Audrey says – nothing bad can happen to me while I’m there. But some of these other films might sound a bit off. This list has a disclaimer that my sanity could, indeed, be called into question at any point.
“Bringing Up Baby” – the best comedy ever made. Period. It’s got my other favorite Hepburn, along with the most suave actor ever to grace the screen, Cary Grant. It’s got geeks and it’s got animals. More importantly, it’s got lots and lots of laughs.
I’ll also throw “Duck Soup” in here. I came to the Marx Brothers late in life, and can’t imagine why it took me so long. Modern comedians wish they could be this funny. For a bad day at work, try “Office Space”, but most people already knew that.
Not all comfort films are comedies, though. If I need a good cry, I might go over to Paul Thomas Anderson’s magnificent “Magnolia”, which makes me cry every time I see it. For a strong drama, I’m liable to put in “The Godfather Part II”. I guess it’s the Italian thing, but it never gets old. To feel pretty, I’ve been known to put on “Coyote Ugly” or “The Fabulous Baker Boys” (and someday I WILL look like that in that dress, even if it takes me another life).
To feel like a kid, try “The Princess Diaries”. To feel grown up, I try “Desk Set”. To sing, try “Grease” or “Xanadu” or “Moulin Rouge” (Spectacular, Spectacular!). For a good scare, there’s nothing like Kubrick’s “The Shining” with the scariest ending shot EVER in modern cinema. I even have a Christmas comfort film – “Love Actually”.
But the oddest comfort film is the most recent, and certainly the most ironic. (No, it is not “Gladiator”, nor does it involve Nic Cage.) The other night I simply couldn’t fall asleep for anything, so I turned on a random channel. They just HAPPENED to be running “The Empire Strikes Back”. I kept it on, and was asleep in about ten minutes. I’ve always said that Lucas-affiliated dialogue could put me straight to sleep!
11/30/2010
11/28/2010
To Clutter, with Love
I am a natural born clutterer. I have a coffee table in my living room that is my catch-all. I make it a point on Saturday mornings to go through everything that has amassed on my table and then act on it. Sometimes this is paying a bill or throwing out an advertisement or putting coupons in my purse. This past week, buried at the bottom of the pile, was a red envelope from Netflix.
Just like all the rest of you, I’m becoming one of those people that watches almost everything through streaming. I watch Netflix streaming constantly and I even watch most of my television shows through Hulu or casttv.com.
After looking at the label on the DVD and examining the short run time of just over 90 minutes, I put the DVD in my BluRay player and watched the numerous outdated trailers before the main feature. The film was “From Paris with Love”, and I’m very glad that I popped it in. It’s packed full of action, sharp dialogue, nice performances and more than a few laughs – all of which I enjoyed whole heartedly.
The film pairs Jonathan Rhys Meyers and John Travolta teaming up for an espionage-filled buddy flick. Travolta basically channels his “Pulp Fiction” comeback performance, complete with the language and the over-the-top-violence, and an obvious reference. Meyers more than holds his own – taking what could have been essentially the straight man role and adding more depth and dimension to it. It’s nice to see him as something other than King Henry and it’s nice to see him clothed.
The filmmakers know their craft. The story comes from Luc Besson, who wrote “The Professional”. That means he knows how to draft a story. And as bad as his “Transporter” movies are, you can’t deny that they’re full of preposterous action that you simply can’t help but watch (if you actually are forced to watch them). The director, Pierre Morel, also did “Taken” which means that he knows how to consolidate a story and tell it convincingly (although I thought this film was a step up from that one).
Even the plot is a little better than expected. There are some significant twists and turns, and this isn’t the typical spy movie where you can tell what’s coming 20 minutes before seeing it onscreen. Even the run time helps – anything longer would have been too much. There’s just enough time to tell the story, show the scenery, shoot MANY people, and blow a bunch of stuff up.
It might not be highbrow entertainment, but sometimes you just want to get out of
your head for a bit. It’s refreshing to see that an action film can actually have some thought into it. Now I’ll send it back, and goodness knows what’ll come in that next red envelope. Because in addition to being a clutterer, I’m REALLY bad at organizing my Netflix queue.
Just like all the rest of you, I’m becoming one of those people that watches almost everything through streaming. I watch Netflix streaming constantly and I even watch most of my television shows through Hulu or casttv.com.
After looking at the label on the DVD and examining the short run time of just over 90 minutes, I put the DVD in my BluRay player and watched the numerous outdated trailers before the main feature. The film was “From Paris with Love”, and I’m very glad that I popped it in. It’s packed full of action, sharp dialogue, nice performances and more than a few laughs – all of which I enjoyed whole heartedly.
The film pairs Jonathan Rhys Meyers and John Travolta teaming up for an espionage-filled buddy flick. Travolta basically channels his “Pulp Fiction” comeback performance, complete with the language and the over-the-top-violence, and an obvious reference. Meyers more than holds his own – taking what could have been essentially the straight man role and adding more depth and dimension to it. It’s nice to see him as something other than King Henry and it’s nice to see him clothed.
The filmmakers know their craft. The story comes from Luc Besson, who wrote “The Professional”. That means he knows how to draft a story. And as bad as his “Transporter” movies are, you can’t deny that they’re full of preposterous action that you simply can’t help but watch (if you actually are forced to watch them). The director, Pierre Morel, also did “Taken” which means that he knows how to consolidate a story and tell it convincingly (although I thought this film was a step up from that one).
Even the plot is a little better than expected. There are some significant twists and turns, and this isn’t the typical spy movie where you can tell what’s coming 20 minutes before seeing it onscreen. Even the run time helps – anything longer would have been too much. There’s just enough time to tell the story, show the scenery, shoot MANY people, and blow a bunch of stuff up.
It might not be highbrow entertainment, but sometimes you just want to get out of
your head for a bit. It’s refreshing to see that an action film can actually have some thought into it. Now I’ll send it back, and goodness knows what’ll come in that next red envelope. Because in addition to being a clutterer, I’m REALLY bad at organizing my Netflix queue.
11/25/2010
The Kids are All Right - and So Am I
I’m finding these days that films aren’t really holding my interest. I’m not sure if my mind is going in too many directions, or I’m simply not up to following plots.
But some films are worth exceptions. One of these was “The Kids Are All Right”, which I’d been waiting for months to see and has finally come out on DVD. I simply refused to miss it.
It’s actually ironic that I picked this film for this time. I originally chose it because it’s an Oscar contender, which makes it an obvious choice. But once I saw it, I realized that it suited me better for a whole other reason. On some level, it was a disappointment. On another, I think it was just what I needed.
This is an indie film in the best sense. It talks about Relationships and How They Come About and Evolve. (Proper nouns used for a reason.) There are Oscar-worthy performance both from Annette Benning and my girl Julianne Moore. Love the rest of the cast as well. But the drawback with the film is the sub-par writing. There were several times when I actually thought to myself “Who talks like that?”
Certainly no one I know. I have a reputation for using an odd vocabulary myself, and it’s still not things I would say. Combine that with the thematic elements present, and the obvious subplots, and the film becomes I slight disappointment (emphasis on slight).
But there’s a reason why I stuck with the film, and actually finished it in one setting. Bear with me here, because I’m about to segue into something important. The film is familiar. It reminds me of the films that I would trek miles to see just because they WERE independent films – out to Towson Commons or to the Charles and now to Bow Tie in Annapolis. Of course, being a Focus Film helps.
As I write this piece, it is Thanksgiving. My other half is miles away, because he works retail and has to work tomorrow’s Black Friday Crunch. I miss him greatly, but will see him this weekend. I’ll be spending a few hours with my family. That’s why people watch films about families – it’s therapeutic to compare. Plus, it always makes you feel better to realize that you aren’t as screwed up as you think.
I’ve realized in the last two weeks that my family and my life are certainly dysfunctional. But guess what? So is everyone else’s. Everyone has trials and tribulations. Mine might be a bit much, but it’ll all turn out right in the end – eventually. I’ve also realized my inner circle isn’t quite as small as I originally thought, which I’m EXTREMELY thankful for. I have a boatload of people who love and support me , making me pretty blessed.
So basically, I’ve spent about 500 words to say that not only are the Kids all right, I am too. Or I will be. Eventually.
But some films are worth exceptions. One of these was “The Kids Are All Right”, which I’d been waiting for months to see and has finally come out on DVD. I simply refused to miss it.
It’s actually ironic that I picked this film for this time. I originally chose it because it’s an Oscar contender, which makes it an obvious choice. But once I saw it, I realized that it suited me better for a whole other reason. On some level, it was a disappointment. On another, I think it was just what I needed.
This is an indie film in the best sense. It talks about Relationships and How They Come About and Evolve. (Proper nouns used for a reason.) There are Oscar-worthy performance both from Annette Benning and my girl Julianne Moore. Love the rest of the cast as well. But the drawback with the film is the sub-par writing. There were several times when I actually thought to myself “Who talks like that?”
Certainly no one I know. I have a reputation for using an odd vocabulary myself, and it’s still not things I would say. Combine that with the thematic elements present, and the obvious subplots, and the film becomes I slight disappointment (emphasis on slight).
But there’s a reason why I stuck with the film, and actually finished it in one setting. Bear with me here, because I’m about to segue into something important. The film is familiar. It reminds me of the films that I would trek miles to see just because they WERE independent films – out to Towson Commons or to the Charles and now to Bow Tie in Annapolis. Of course, being a Focus Film helps.
As I write this piece, it is Thanksgiving. My other half is miles away, because he works retail and has to work tomorrow’s Black Friday Crunch. I miss him greatly, but will see him this weekend. I’ll be spending a few hours with my family. That’s why people watch films about families – it’s therapeutic to compare. Plus, it always makes you feel better to realize that you aren’t as screwed up as you think.
I’ve realized in the last two weeks that my family and my life are certainly dysfunctional. But guess what? So is everyone else’s. Everyone has trials and tribulations. Mine might be a bit much, but it’ll all turn out right in the end – eventually. I’ve also realized my inner circle isn’t quite as small as I originally thought, which I’m EXTREMELY thankful for. I have a boatload of people who love and support me , making me pretty blessed.
So basically, I’ve spent about 500 words to say that not only are the Kids all right, I am too. Or I will be. Eventually.
11/07/2010
Don't Read The Book - See The Movie!
In addition to being a film connoisseur, I am also a voracious reader. This means that often I am faced with the dilemma of seeing a film when I’ve already read the book. Nine times out of ten, the book is better. This is simply because what I see in my head while I’m reading is better than anything a director could show on a screen.
But I have found one notable exception – the “Millenium” trilogy. This is the set of films starting with “The Girl with the Dragon Tattoo” which has now moved on to “The Girl who Played with Fire”.
I saw the first film courtesy of Netflix streaming (actually, that’s how I’ve seen both). I thought the film looked dated, but I liked it a lot. I purchased the book for the second film, figuring that I’d burn through that and then get the third. I’m glad I didn’t buy both at one time, for this has to be one of the most difficult reads I’ve ever undertaken.
I’m not familiar with Sweden, so none of the place names mean anything to me. The books’ aren’t really written that well actually, unless some things got lost in translation. I understood the characters well enough and learned some plot points, but not well enough to care to finish it.
The film, however, is a whole different story. This isn’t the typical “middle
film”, usually the worst of a trilogy. This film is extremely easy to follow and also extremely interesting. They cut some sub-plots from the book, but upon further review that’s because they weren’t necessary to the telling of the story.
If the first film looked like a 70s film, this one feels like an 80s film. It’s much more character-driven, with the need to explain the past of the characters. It also links with things from the first film, and gives even more clarity.
But more than anything, this film actually demonstrates what a talented actress Naomi Rapace is. Lisbeth seems to have matured between the two books, and it seems that Rapace grew into the role. She allows Lisbeth’s vulnerabilities to come through in a way that is totally believable, and allows the viewer to root for her.
Even as you’re watching, you can’t help asking yourself what the Americans will do with this. Some scenes would never make it off the cutting room floor, especially considering the amount of nudity and sex featured (some of which is needed). And I have this sneaking suspicion that we will see Blomkvist and Salander live happily ever after. I hope with everything in me that’s not the case, because the relationship between the two of them seems more complicated and more genuine that could really be accepted in America.
There aren’t many times that, after finishing the second film in a trilogy, one can’t wait for the third. But that’s how I feel about this one. Just not enough to read the book.
But I have found one notable exception – the “Millenium” trilogy. This is the set of films starting with “The Girl with the Dragon Tattoo” which has now moved on to “The Girl who Played with Fire”.
I saw the first film courtesy of Netflix streaming (actually, that’s how I’ve seen both). I thought the film looked dated, but I liked it a lot. I purchased the book for the second film, figuring that I’d burn through that and then get the third. I’m glad I didn’t buy both at one time, for this has to be one of the most difficult reads I’ve ever undertaken.
I’m not familiar with Sweden, so none of the place names mean anything to me. The books’ aren’t really written that well actually, unless some things got lost in translation. I understood the characters well enough and learned some plot points, but not well enough to care to finish it.
The film, however, is a whole different story. This isn’t the typical “middle
film”, usually the worst of a trilogy. This film is extremely easy to follow and also extremely interesting. They cut some sub-plots from the book, but upon further review that’s because they weren’t necessary to the telling of the story.
If the first film looked like a 70s film, this one feels like an 80s film. It’s much more character-driven, with the need to explain the past of the characters. It also links with things from the first film, and gives even more clarity.
But more than anything, this film actually demonstrates what a talented actress Naomi Rapace is. Lisbeth seems to have matured between the two books, and it seems that Rapace grew into the role. She allows Lisbeth’s vulnerabilities to come through in a way that is totally believable, and allows the viewer to root for her.
Even as you’re watching, you can’t help asking yourself what the Americans will do with this. Some scenes would never make it off the cutting room floor, especially considering the amount of nudity and sex featured (some of which is needed). And I have this sneaking suspicion that we will see Blomkvist and Salander live happily ever after. I hope with everything in me that’s not the case, because the relationship between the two of them seems more complicated and more genuine that could really be accepted in America.
There aren’t many times that, after finishing the second film in a trilogy, one can’t wait for the third. But that’s how I feel about this one. Just not enough to read the book.
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