Link of Note: Mamet's Scathing Memo on Screenwriting

David Mamet schools the writers of the TV show The Unit on how to do their jobs better. Good material throughout (an in all caps, no less). An excerpt:
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO *SUGGEST* TOTHEM WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, “BUT, JIM, IF WE DON’T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME”
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TOWRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED INWHAT HAPPENS NEXT.
And:
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT. ANY TIME ANY CHARACTER IS SAYING TO ANOTHER “AS YOU KNOW”, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TOKNOW, THE SCENE IS A CROCK OF SHIT.
And:
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA. IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,OF SPEECH. YOU WILL BE FORCED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)

Jacuzzi With A Flux Capacitor


  • Stepping on a butterfly = vomiting on a squirrel
  • I am really beginning to appreciate Chevy Chase's comeback, but his presence here was almost unnecessary. Crispin Glover on the other hand (pun intended) was the film's true scene stealer.
  • While Adventureland tastefully reminded the viewer what decade they were in, this film makes a point to rub it in your face. Still, listen in the background for classic 80's lines like "Put him in a body bag!" and "I want my two dollars!"
  • Rob Corddry owns this movie as the loose cannon. Seriously, would anyone really want that as an iphone photo ID?
  • I was a bit disappointed considering this was coming from the team behind High Fidelity and Grosse Pointe Blank, but perhaps I shouldn't have expected greatness from a film called Hot Tub Time Machine. B

Takeaways from LOST: Ab Aeterno

  • Jacob wants to prove to Smokey that people can be good, or something like that.  But why does he care what Smokey thinks? Persuading him seems to be Jacob's endgame.  He admits that's why he brings people to the island.  
  • The island is a CORK, plugging up evil.  Maybe it's not really evil.  Maybe it's antimatter.  
  • Magnus Hanso was the captain of the Black Rock.  Did he survive the ship's crash?  Was Dharma all about following up a lead from generations past (Alvar Hanso & the Hanso foundation).
  • Either there are really ghosts on the island, or Jacob/Smokey/Third-Party is pretending to be Isabella and appearing to Hurley. She is definitely not the same kind of entity that Miles perceives -- he needs to be near the physical remains, and he can't interact with them, only hear psychic echoes of their thoughts.  
We don't need ghosts, LOST.  We've had electromagnetic anomalies, fertility problems, psychic phenomena, immortality, magical healing, time travel (three different kinds), precognition, strange visions, nuclear weapons, strange infections, numerology, secret societies, resurrection, psychological experimentation, disappearing, smoke monsters, genocide, unlikely coincidences, telekinesis, teleportation, assassination, alternate reality, magic mirrors, and possibly demigods.

The only thing you haven't given us yet is ALIENS.  It's time to let that one out of the bag.

Addendum: Haneke's 'Ribbon' Turned Me A Whiter Shade of Pale

Aaron's review is here. As it turns out The Cinema Center did get Michael Haneke's Palme d'Or winner The White Ribbon (Das weisse Band) this weekend, so I rushed out tonight to catch the first available show. Most of my thoughts on this film mirror that of Aaron's. The cinematography and striking black and white are beautiful, yet the subject matter is harsh and ugly. The film is long and slow, yet it is never boring.

While I completely agree that the point of the film is not about who committed the crimes, but about how the crimes affected the peace of the community. I also felt that another purpose behind the crimes was to show how sins of overbearing or evil parents can be passed down to their children. Since we never are given a straight answer as to who committed the crimes, which made the film far more interesting in my opinion, I can only assume without being positive that many of the crimes were committed by the kids. I only feel this way because of the selfish and horrible actions of their parents prior to the crimes.

The doctor's "accident" pretty much opens the floodgates to the violent acts of cruelty in this village. At first we see the doctor as a victim, but by the end we discover this may have in fact been an act of vengeance. Growing up as the child of a strict religious figure like a priest couldn't have been easy as well. When everything you do is seen as a disappointment worthy of punishment, how long do you give it before these poor kids begin to lash out?

But as it has been stated before The White Ribbon is so shrouded in mystery that no real answer is given. This is one of those rare and fascinating films that wisely lets the viewer make up their own mind. My theory might be wrong, but this was how I interpreted it. The more I thought about different scenarios the more I realized how bleak and deep this film really was. Everyone will see something different. That being said... See it. B+

Repo Men: Fake Hearts & Spare Parts

Universal Pictures wants you to believe that their new techno thriller Repo Men involves a pair of repossession experts who make a living slicing and dicing clients and removing their company owned organs when they can't float the bill. Upon further inspection I believe that the true repo men of the film's title refer to screenwriters Eric Garcia and Garrett Lerner. They seemed to have butchered numerous 'parts' and ideas from several other, not to mention, better films. Here are a few examples:
  • Eyes - The gloomy futuristic cityscape with numerous high rises and neon billboards has been used in countless other films. Most notably Ridley Scott's Blade Runner.
  • Muscles - There is an extended fight scene in a narrow concrete corridor where the film's hero (Jude Law) fights multiple thugs with weapons ranging from a knives to a hacksaw. Before you can say Oldboy a hammer gets brought into the fight and begins smashing toes. Most notably mine.
  • Brain - Just about every idea this film has feels like it was rejected by Philip K. Dick, and the surreal ending is exactly the same one used in Terry Gilliam's Brazil.
You know a film has a problem when the same basic concept was used as the basis for a rock opera a few years ago. 2008's Repo: The Genetic Opera was a musical involving an assassin who collects government legalized body parts. That film was certainly a mixed bag. It looked cheap and some of the songs were pretty cringe worthy, yet I kind of admired it. Many of the other songs were actually quite good, and the idea seemed much more fresh at the time. It says a lot about the quality of a film when I prefer the one that stars Paris Hilton as opposed to the one starring The Last King of Scotland (Forrest Whitaker).

Repo Men is not a terrible film, and in all fairness picks up some steam in the last twenty minutes or so. There is a moment you will not soon forget involving Law and co-star Alice Braga as they slice one another up in order to scan their organs through a computer. They actually sensually kiss one another as blood pours out of them. It is literally shot like a sex scene or torture porn if you will.

If you have seen every other movie I mentioned in this review then you already know what to expect. The only way I can really see anyone enjoying it would be in a 'its-so-bad-its-good' way. The filmmakers were so busy cutting up past due clients that they forgot to chop about half an hour out of this flick with a bum ticker. C

'Justifying' The Role of a Villain

This is mostly in response to John's random thought on the new series Justified. I too watched it last night (The whole episode), and while it is hardly "The greatest show on TV" I thought the pilot showed some promise. You find out later that Olyphant and Googins were once semi-friends making their rivalry more intimate, personal, and interesting.

John was not quite incorrect to assume that the blowing up of the church by Googin's character was driven by racism or boredom, to a certain degree, it was. But there is another hidden primary motive that is revealed later in the episode. It was done for both business and pleasure. Still, that doesn't quite make his actions justified. John hating this character is perfectly understandable.

Villains can be a very tricky grey area in my book. They seem to be the few characters that have found a loophole that doesn't require approval or admiration for the character to work. We love villains like Hans Gruber and Norman Bates because they are charismatic and likable. Yet sometimes I will love a villain because I absolutely HATE the character they portray. Mrs. Carmody (Marcia Gay Harden) from The Mist and Percy Wetmore (Doug Hutchison) from The Green Mile are two fantastic villains simply because you love to hate them. You despise their achievements, and applaud their demise. The fact that you loathe them means they are simply doing their job remarkably well. That may just be me, or it could possibly be the weird Stephen King connection.

I enjoyed the promo at the end of the pilot revealing to me that this was not going to be just a linear story arc show. It was going to contain what looks like mostly 'stand alone' episodes with the main story line making an appearance from time to time. I'll stick with it... for a while.

P.S. Regardless of whether you like Googin's character or not it seems as though he is going to be out of commission for at least a while.

Random Thought on 'Justified'

I attempted to watch FX's totally Olyphant-astic new hour-long crime drama, Justified.  I said 'attempted' because I gave up pretty early in the program.  Here's the problem:  Within the first ten minutes the main villain (The Shield's Walton Goggins) shoots a rocket launcher at a church, motivated partly by racism (but mostly by boredom), and then shoots his partner in crime because of suspicion/convenience/fun.  Right away they establish that this guy is a whimsically and recklessly violent white supremacist.  That's a non-starter, because I need to like the villain at least a little bit to enjoy the rivalry.

Maybe I'll hear that this is the greatest show since [your favorite show here], but for now, I think I'll pass.

Ed. -- Forget what I said.  I stuck through and now I love this show.

Get Outta My League, Get Into My Car (It's a Neon)


Please make sure that your suspension of disbelief is in it's full upright and locked position. What we have here with the semi-sweet comedy She's Out of My League is an unrealistic, yet surprisingly self-aware story of a nice guy actually finishing first for a change.

Airport security guard Kirk (Jay Baruchel) has been separated from his girlfriend for the past few years, yet her presence remains because it seems Kirk's parents prefer her over their own son. I will get to the family from hell in a minute. Kirk is on the verge of begging for another shot, when by chance and a lost cell phone he lands on the radar of the stunning Molly (Alice Eve). Before long everyone: friends, relatives, former flames, and even Kirk are asking themselves the question "Is she really going out with him?"

I don't want to take this opportunity to bash Mr. Baruchel in the looks department, nor praise Ms. Eve in the same field. Apparently the only reason everyone thinks their relationship has no chance of working is because the nerd is never meant to date the cheerleader. In all unfair honesty that is a realistic notion. What I liked about both of the characters is that they are warm, likable, and decent human beings. While it may seem that they wouldn't realistically make a good couple, in this film, they do.

Although it took a while, I ended up admiring Kirk's group of friends. At first they treat his relationship with Molly with an almost veiled sense of envy. This explains the ludicrous yet humorous "point system". Your looks get you a base number, (for example Kirk is rated a 5) and then your points can fluctuate up or down depending on your crappy car, sense of humor, or whether you perform in a Hall & Oates cover band. Once they realize is she the right girl for him they do everything they can to make sure their friend finds happiness.

Kirk's family on the other hand is an entirely different story altogether. Their presence is so insulting and bothersome that they very nearly kept me from enjoying this film. I liked the way Molly handles herself at the absurdly embarrassing dinner scene. They bombard her with stupid questions as though they are trying to ruin any chance Kirk has with her. She just smiles, puts everyone in their place, and in a very sweet gesture assures Kirk that she's fine by placing her hand on his knee. I couldn't help but overhear the collective "awww" coming from the row of ladies sitting behind me. Although I didn't join in, the feeling was definitely mutual.

She's Out of My League may not be a great or terribly believable romantic comedy, but it is a pretty good one. There are a fair amount of gross out jokes and one liners that hit the mark, or at least come very close to hitting it. Even with the most painfully unlikable family since Meet the Parents it may only score a 5, but it's heart and likable leads earn this film a few extra points. B-

Link of Note: Greatest Film Scenes Ever

The Guardian asked several directors which were their favorite film scenes of all time. The picks:  The car chase in The French Connection, the bicycle scene in Jules et Jim, Bill's birthday party in All About Eve, the skeleton fight in Jason & the Argonauts, the wacky final scene of 2001: A Space Odyssey, the mirror scene in Taxi Driver, the bloody prom prank in Carrie, and the opening scene of Rear Window.

Feel free to post your own favorite in the comments.

Doc Jensen is Dropping the Ball on Lost

Jeff Jensen has been writing the Lost column for Entertainment Weekly for quite some time now.  After each episode, he pens a tome-like essay explaining every literary reference and allusion and offering theories and analysis.   It's usually pretty good, but this week's recap has me worried that Mr., er, Dr. Jensen has a had a stroke or something.  It seems that the man who knows everything there is to know about the Lost mythology is missing some major pieces of the puzzle, and as a result, his observations are less than illuminating.

First, Jensen doesn't remember his time traveling from Season Five:
Until last night, it had been safe to assume that both the Island and Sideways worlds shared the same history until 1977, which is when the time-traveling castaways detonated Jughead. But the Linus men of the Sideways world blew up that thinking. I took the story to mean that Sideways Roger and Ben left the Island prior to its sinking. But Island Roger and Ben were still on the Island when Juliet banged the bomb. Implication: If the two worlds share a common history, the fork in the road is sometime before 1977. Rebooted Theory: The divergence begins on that fateful night when some phantom stranger struck John Locke's teenage mother, causing her to give birth three months early. That phantom stranger? I'm saying it's Charles Widmore.
Why is it safe to assume that history diverged in 1977?  Previously seeing Dr. Ethan Goodspeed in the real world in Claire's episode confirmed that things had to have been changed before that: after all, Ethan was on the island then, too.  So when Jensen says "Rebooted Theory," I say, "no duh."

Now obviously, we don't know exactly what the sideways-flash world is. We do know that the result of the Losties crashing was not limited to whether or not they landed in LA, since they later went on to time travel following their crash, thereby affecting all sorts of history before they were born.  The Losties meddled in things at least as far as the 1950's, where they met Widmore, Eloise, and Richard, and where Faraday told them to bury Jughead.  My guess is that the sideways-flashes are not the result of "The Incident," but a result of a real rebooting that will occur on the Island 2007 at the end of the series (i.e., we are witnessing character epilogues).  It could also be that detonating Jughead allowed Juliet to go back to the moment that defined whether or not she would come to the island, and that her absence on the island prevented certain things from happening (Similar to Desmond's experience following the turn of the failsafe key.   Like Desmond's future "memories" of what would happen to Charlie, its seems Juliet may have returned to 2007 with some extra experiences.  Remember, dying Juliet says "it worked.").  Just guesses, of course.  But I do know that the moment where the paths diverge cannot be when Widmore supposedly causes John Locke to be born prematurely; even if that's a historical fact, the moment that would cause this to happen would be when Locke does/doesn't reveal himself to the Others in the 1950s.  Perhaps this is what Jensen is getting at, but I'm not sure.

Second, Jensen doesn't seem to know the Ben-Jacob history:
Throughout his Others reign, Ben insisted he was hearing the voice of Jacob and heeding his will. He justified everything by putting it all on his Island god. But the time has come to begin wondering how attuned to Jacob that Ben has been — if he's been attuned to him at all. . . Ben's either been faking his rapport with Jacob, or (and this is my theory) the supernatural entity that's been speaking to him all along has been the Man In Black. 
Not only did Ben claim never to have seen Jacob before that hullabaloo in the Cabin (which we know was Smokey now, if only because we saw Locke run his fingers through the ashen circle around the cabin, breaking the seal and letting Smokey in to put on a show), but Richard and Ben both maintain that Ben's never met Jacob and that Ben got all his info from Richard as go-between.  All this indicates that Jacob never had nor claimed to have any communication with Jacob or Fake Jacob (Smokey) before The Cabin Experience with John Locke (though he lied to the Others about it).  It seems Jensen is inventing backstory that hasn't happened.

Finally, Jensen says this:
[Ilana] was asked how many [candidates] were left, she said six. Was she counting John Locke? Fake Locke? Jin and Sun twice?  
Well,  I might be wrong about this, but as far as we know, there are at least six candidates left alive and/or not crossed out without fudging the math: Hurley (8), Sawyer (15), Sayid (16), Jack (23), Jin or Sun or Yi Jeon (42) and Kate (51).  Now, the only questions are:  Does Sayid count, now that he's "turned", and is Lapidus a candidate (Ilana suggests the possibility in last season's finale, and as far as we know, she hasn't had the opportunity to get any new info since then)?  Hell, Miles could very well be a candidate.  Now, I'm no Lost doctor, so I admit I could be way off base here.  But Jensen, who usually squeezes every last drop of water from every Lost moment, doesn't even entertain these possibilities.  What gives?

In any case, I'm not trying to be hard on Jensen -- I actually appreciate his column a lot.  But for someone like him, who eats and breathes this stuff, these should be easy catches.  Doc, please work your way back into game shape!

P.S. This counts as my weekly "Lost Takeaways" column I promised a couple weeks ago, even though I haven't recapped the last two episodes.  

Link(s) of Note: Movie Quote Infographics, Truth in Advertising

2010: The Year We Make Contact... With These 5 Films


The Academy Awards are tonight honoring the best films of last year. I feel that even though this year looks like a slow starter there are a few films on the horizon that I am a little more than interested in seeing. Not quite academy material I'm sure, but intriguing enough to get my attention:

5. Passion Play: Mickey Rourke plays a washed up trumpet player that saves a winged circus freak (Megan Fox) from the clutches of a ruthless gangster played by Bill Murray. With that kind of scuzzy star power and a plot that that vaguely sounds like a bizarre mixture of The Salton Sea and Mad Dog and Glory, here's hoping that this little angel can fly.

4. The Losers: Every year I'd like to think I am allowed at least one insanely stylish action romp that's dumb as a box of rocks (e.g. Smokin' Aces, Wanted). I will take this tale of government agents disavowed form their organization, and seeking revenge. As someone who loves Burn Notice and Extreme Prejudice I must say that this summer's The A Team has got a little competition.

3. Cyrus: John C Riley gets some serious laughs as he compares himself to Shrek and belts out Human League on karaoke. He plays a recent divorcee trying to get back into the dating game, but finds that difficult after meeting his new girlfriend's excessively creepy adult son Cyrus (Jonah Hill). Is it just me or is Marisa Tomei only improving with age?

2. Scott Pilgrim vs. the World: Michael Cera plays a 23 year old (Finally!) slacker that must battle the seven evil ex-boyfriends of Ramona Flowers (Mary Elizabeth Winstead) in order to win her heart. I am overly excited to see what director Edgar Wright brings to this manga based project. He has already got a near perfect cast for this material, the music promises to be hip and edgy, and this is the kind of film in which anime sequences and 8 bit graphics are not only expected, they are required.

1. Inception: "Well Cohaagen. I've got to hand it to you. It's the best mind-fuck yet." I expect to say nothing less about writer director Christopher Nolan (Memento, The Prestige), and his next super secret project.



Note: I am surprised as you are to see that Chris Evans will appear in not one, but two of the films I'm looking forward to this year. Human Torch rocked the shit in Danny Boyle's Sunshine, but normally sucks in general. Let's see if 2010 turns it around for him.

And the Winner Is....?

THE HURT LOCKER over A SERIOUS MAN, even without a vote by Bree (who would only be able to drop a +2 for A Serious Man, anyway).

Congrats, THE HURT LOCKER.  I'm sure our award is the one that really counts.

Harsh Times (DVD): Bale Goes Berserk... Again

Video Pick of the Week: With Brooklyn's Finest hitting theaters this weekend I went back and re-watched this Mean Streets meets Training Day hybrid from a few years ago. I saw it at the theatre when it came out, and while it is no masterpiece I felt it was a gritty and entertaining urban drama with some very good performances. Having revisited it I realized that some of the dialogue is so brutally humorous that it ranks as an incredibly quotable guilty pleasure.

Harsh Times spans a few days in the lives of Jim (Christian Bale) and Mike (Freddy Rodriguez) as a pair of best friends who cruise around the more dangerous areas of Los Angeles. They are both searching for work, but only seem to find rejection and trouble. They are anything but innocents, and most of the problems they run into are created by their own unwise and crazy decisions. They guzzle tons of beer, rip off a street dealer and get wasted, and even rob a gang of four at gunpoint while hilariously insulting them. I will get to some the dialogue in a minute.

The whole setup plays like Training Day in reverse. TD was about a pair of officers that dress like thugs and act more barbaric than the criminals they pursue. Harsh Times is about a pair of thugs that dress like officers and even drive in what looks like an undercover cruiser, but they still act just as barbaric.

The performances are the key. Christian Bale steals the show as a former marine that has come home as more than a bit of a section eight. What is so impressive to me about his performance is his ability to go from a trash talking with a mexican accent street thug to a polished suit wearing professional with almost zero effort. It looks about as natural to him as flicking a light switch. The fact that he is a Welsh actor makes this and many of his other performances even more impressive. Freddy Rodriguez is also quite good as a character trying (loosely) to shed his former crazy life, but finds out that being a faithful friend to Bale gives new definition to peer pressure.

Having never seen a single episode of Desperate Housewives let alone anything else she has starred in, I can't quite tell how much range Eva Longoria actually has. However her small role in this film as Mike's doting girlfriend Sylvia is not half bad. She knows Jim is a terrible influence and is not afraid to continuously remind him of this. You can tell she really cares for Mike and just wants to see him find the same proper lifestyle that she currently has.

There is just something hilarious to me about hearing lines of dialogue like "Those are some bad ass kicks dawg, your lucky you got little bitch feet." "He turned that Vato into a fountain of blood." "I'm made out of ME!" and "You can 12 step off bitch, your dismissed." These and many more lines are sometimes delivered with humorous intentions, but other times even when the tone is meant to be serious I still find their delivery so intense and insane I can't help but laugh at them. The movie does still manage end on a serious and somber note, not much to laugh at there.

This is a streets of L.A. story that seems to have gotten lost in the shuffle among numerous other cop and criminal movies. It did poorly at the box office only getting a limited release, and even less publicity. It is worth a rental due to it's amazing performances, intense action, and with such comical dialogue and delivery Harsh Times ensures a good time. B+

Malice for Burton's Blunderland & No Sleep Till 'Brooklyn'


Alice In Wonderland: I know that legions of Burton/Depp fans might be screaming "off with his head" at this, but they can Eat Me, Drink Me, or whatever. I feel that Alice in Wonderland is Tim Burton's absolute worst project yet. Yes, that includes his big budget 2001 misfire remake of Planet of the Apes. That film might have been poor, but you gotta admit that Mr. Orange (Tim Roth) and Miles (Paul Giamatti) were pretty good as evil monkeys.

I have never read the books based on Alice's adventures, but I am quite familiar with Disney's animated version. That childhood tale of a little girl lost and trying to find her way home always stuck with me due to it's loony (sometimes frightening) characters, and it's crazy colorful atmosphere. This new version contains the familiar faces, yet most of the wonder is curiously missing.

I was surprised to discover that this film is not a remake, but a sequel that unwisely uses the exact same title. The story picks up thirteen years later as Alice flees her engagement party, falls into the rabbit hole, and learns she is ' the chosen one' to fight the evil Jabberwocky thus ending the evil Red Queen's reign of terror (Snore). This movie is more or less like Steven Spileberg's live action continuation Hook.

The performances are actually quite bland and uninspired. Newcomer Mia Wasikowska looks and pouts like a young Gwyneth Paltrow in a lesser role. Ever since Pirates of the Caribbean Johnny Depp (I'm sure in an effort to appease the masses) plays the same gibberish babbling with a lisp weirdo we have seen far too many times before. His Mad Hatter is yet another distracting role. Some of the characters are pure digital effects. I loved the decision to make Alan Rickman the voice of the smoking caterpillar. Too bad he gets about two whole minutes of screen time. In a odd and distracting decision, some of the actors have been digitally tweaked to have bigger heads (Helena Bonham Carter) or bodies (Crispin Glover).

The whole movie also had such potential to create and display an amazing range of colors. It also (being a Burton film) could have been dark and evil looking. Instead it almost combines the two in a dull, grey, and flat result. Not even the 3D effects manage to bring this film to life. Nothing really pops out at the audience, and there is very little sense of depth. What a waste.

I've noticed that Burton's films are better the darker his vision for it is. I love the bloody and gloomy mayhem of projects like Sleepy Hollow and Sweeney Todd. I enjoy the wacky original creations of Bettlejuice and Edward Scissorhands. Perhaps my favorite Tim Burton film would have to be Ed Wood. The very bent yet true tale of a mad filmmaker guilty of making the best worst movies ever. Alice however ranks slightly lower to me than Big Fish or Charlie and the Chocolate Factory. Burton always keeps his projects bizarre, but he couldn't have been Tweedle dumber for trying to update this mess. C-

Brooklyn's Finest: Ever since Training Day (also from Director Antoine Fuqua) I have noticed that the corrupt cop genre has produced a various amount imitators. Well you can be sure to add Brooklyn's Finest to that list. Here are a few notes I took while watching this passable thriller whose actions and twists aren't quite as fresh on the street as a rookie.
  • This is not one massive tale of officers in trouble, but in an interesting narrative, three separate tales. The cop that is so deep undercover he dosen't want to betray the dealer that has now become his best friend. The cop considering stealing drug money to support his ever growing family. And the cop who is mere days from retiring just trying to dodge risky situations yet manages to find plenty of them. Surprisingly, they only briefly intersect once or twice.
  • If you blink you might miss Vincent D'Onofrio and Lili Taylor, but you will not miss Ellen Barkin as a nasty special agent. Is it wrong for me to tell you that when Don Cheadle takes a swing at her I was praying for it to connect?
  • I know the temptation must have been great, but I must applaud this film for resisting the urge to contain the line "We're the police, we can do whatever the fuck we want!"
  • For all of the characters that are either on or distributing drugs, the person that acts the most like he has a unhealthy addiction to them would be Ethan Hawke. His performance is so insane and over the top it is almost comical. I was pretty impressed. I was also impressed with Wesley Snipes as a mob boss that takes it down a few notches, but is a bit too trusting.
  • At least it is better than Cop Out (but that's not saying much because so is just about everything else out right now.)
I wasn't expecting too much from this, but even with a running time that cracks the two hour mark Brooklyn's Finest is still a dark and gritty drama that refuses to go for an easy ending. It may not matter if your a good cop or a bad cop your life is at risk either way. Which reminds me of a scary statistic the film informed me of. "An officer will make twenty thousand his first year on the job, his family will make one hundred thousand if he is killed in the line of duty. Some guys are worth more dead than alive." B

Link of Note: Greatest Music Video Ever

I know this isn't strictly the kind of thing this site usually comments on, but this music video by OK GO is amazing. It's a Rube Goldberg machine gone wild, followed by a single long take (perhaps Cuaron-style, I don't know).