Month: August 2009 (Page 2 of 33)

True Blood 2.11 – This love gushes from my heart, like a water from a spout

“Is this a bad time?”

You know, for as much as I’ve decried the lack of eroticism inherent in blood, Evan Rachel Wood is so damned sexy that you could almost…not quite, but almost…overlook the fact that her face was covered with the stuff when she made her first appearance this evening. Or maybe it was the other woman moaning in the background that helped make the scenario somehow more sexy than creepy. Whatever the case, it was clear from the get-go that Queen Sophie-Anne LeClerq, Vampire Queen of Louisiana, was not going to be a woman to be trifled with. She knows more than any other vampire we’ve seen, and although we didn’t necessarily see all that much of her power, all we really had to see was the way Bill acted around her to know that, man, she’s got to be off-the-charts powerful. Her comments throughout the episode ranged from funny (“I haven’t enjoyed sex with men since the Eisenhower administration”) to cynical (“Never underestimate the power of blind faith”) to a combination of the mystical and the mystifying (“Everything that exists imagined itself into existence”), but the most telling of her comments came from her complete dismissal of Maryann and her actions. In short, she can’t really be bothered by this creature…or much of anything outside of her own existence, really. Looks like the holier-than-thou manner of royalty remains consistent within both the human and the vampire worlds.

Poor Hoyt. He gets pissy with Jessica for her decision to bite his mother because of her insolent comments, only to have her offer disconcerting revelations about how she’s been longing to head over to Merlotte’s to find herself some manly company, then put the cherry on top of the conversation by destroying everything he ever knew about his father and his noble death.

Poor Tara. She was so chomping at the bit to save Eggs that she basically tried to alienate every single person in the house. My wife theorized that her angry words were due to the approaching mob, but, no, it appears that she was just being incredibly shitty. During her awful heart-to-heart chat with her mama, she did her very best to make her mother feel like complete and total shit…and, yet, Mama responds by playing the sucker and deciding that this is her only possible way to get her daughter back. I don’t blame her for her desperation, but, c’mon, this is Tara’s cousin and best friend. Given everything that had gone down in the previous few hours, did she really think that her daughter knew best?

I can’t imagine that anyone would deny that, if this episode belonged to anyone other than Queen Sophie-Anne, it was the tag-team dumb-ass duo of Jason and Detective Andy. Who would’ve thought that Andy would turn out to be the sensible one of the pair? There were laughs from Sam’s attempts to explain his shapeshifting abilities to them (eventually leading to the discussion later in the episode where Jason tried to work out the most sordid angles of Sam’s powers), from Jason’s dramatic comment about having read about the impending Armageddon in a book (just when you thought he was going to say it was the Bible, he revealed that it was Max Brooks’s “World War Z”), from trumpeting his awesomeness and then promptly running headlong into a tree, and…oh, hell, there were too many laughs to count, but the one that still resonates the most was surely this line.

“‘Sometimes you need to destroy something to save it.’ That’s in the Bible. Or the Constitution.”

God love you, Jason Stackhouse.

The whole sequence within the sheriff’s station was hilarious, though I thought it was a bit cheap to have Andy be wearing kevlar underneath his shirt when he got shot. Still, how can you go wrong with William Sanderson dancing his heart out in his boxers? Their intense discussion in the truck was pretty hilarious in its own right, particularly Jason’s assurance that “I watch a lot of porn to learn stuff,” but the sudden decision to turn this mystical invasion into something patriotic was somehow perfect for these two redneck yokels. The only thing that would’ve made it better would’ve been to have Jason and Andy start singing “God Bless The USA.”

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A “Woodstock” movie moment

Even though Ang Lee’s “Taking Woodstock” isn’t exactly taking the movie world by storm, I thought I’d take the opportunity to present one of the most famed moments from Michael Wadleigh’s documentary, “Woodstock.”

Even though I’m not a fan of lengthy guitar solos in my pop music, there are exceptions — and most of them probably come courtesy of Jimi Hendrix. I’m not sure the appeal here is entirely musical by its nature, but its definitely powerful and historic. Whatever “soul” is, I don’t think any conventional guitar hero ever had half as much as Hendrix did.

3-D “Final Destination” wins horror franchise battle

The Final Destination

Apparently the lure of bizarre deaths in 3-D was somewhat stronger than more traditional forms of slaughter this weekend. “The Final Destination” won the violent, R-dominated movie derby this weekend and died its way to an estimated $28.3 million for New Line. So says THR/Reuters and Nikki Finke, with Ms. Finke mentioning those 3-D ticket prices as its main advantage against  The Weinstein Company’s latest return to the Michael Myers well, “Halloween 2.” The slasher flick came in at the #3 spot with an estimate of $17.4 million, which actually could have been a lot worse. Judging by the post-release reviews that are trickling in at Rotten Tomatoes, the good will Zombie earned from gore-friendly horror fans on “The Devil’s Rejects” seems to have largely dissipated with this entry. Moreover, Finke’s post and comments are full of remarks on the oddness of facing off two scare-franchises on the same weekend when many students start returning to school. And there’s also the matter of the Weinsteins competing against themselves.

Melanie Laurent
And that brings us to “Inglourious Basterds,” which held well at $20 million on its second weekend, dipping a better-than-average 47% according to Pamela McClintock of Variety, which will no doubt be assuaging whatever disappointment Harvey Weinstein may feel re: “Halloween 2.”  The performance of “Basterds” is pretty magnificent considering last week La Finke and her sources were talking about a huge 70% drop because of the perhaps overestimated returning-to-college factor and, I’m guessing, their prejudice that “Inglourious Basterds” simply can’t possibly be an ongoing moneymaker in the U.S. market.

I caught up with “Basterds” yesterday. I guess it’s no surprise that a Tarantino-positive cinegeek with a heavy retro tendency like myself would hugely enjoy this borderline surrealist World War II opus.  However, it really was something to be in the presence of a very mainstream, semi-surburban cineplex audience rapt with attention during long stretches of subtitled dialogue in a film full of the kind of homages and film references that are supposed to ruin a movie’s chances. Proving, I suppose, the power of stories and characterization to overcome an audience’s prejudices, if not the cynical preconceptions of those inside the Hollywood bubble. Of course, it’s just easier to blow things up to please a young and male audience, and Tarantino does that, too. So there’s your formula. The other well-reviewed violent genre actioner, “District 9,” held on as well in its fourth week with an estimated $10.7 million.

Taking Woodstock Ang Lee’s “Taking Woodstock” was pretty much a bust. It did even less well than I guessed Friday and made only an approximate $3.7 million, though in fewer theaters than the other major releases. To echo myself, fare aimed at older audiences needs favorable reviews and/or buzz to really succeed, and the mild reaction to this fact-based comedy apparently wasn’t cutting it. Even so, this film probably should have started out with an arthouse release.

Speaking of the arthouse circuit, as often happens specialty fare hosted the biggest per screen averages of the week. The documentary “The September Issue” featuring Vogue editor Anna Wintour did smashing business in its first weekend in six New York theaters, with some $40,000 per screen according to Box Office Mojo. Presumably every fashionista in the area turned up to see what I guess might be marketed as the real life version of “The Devil Wears Prada.” Not quite as great, but still at least as strong as a stocky sports geek’s headbutt, was the Bullz-Eye/PH approved “Big Fan,” which did a healthy $13,000 on each of its two coastal screens this weekend.

Patton Oswalt and Kevin Corrigan in

Sugarboxx!

And while I’m promoting seventies exploitation homages, I should push one I’m actually in (and maybe some day I’ll get some lines in something).

Sugarboxx
, a very tasteful, R-rated tribute to women-in-prison films of yore from the mind of underground cinema genius and complete-stranger-to-me Cody Jarrett, premieres at midnight, a week from tonight at L.A. Sunset Five theaters. For more on the movie and the premiere, details are here. Genuine, certified no-prizes for anyone who spots me in the very cool and moderately NSFW trailer below. At least one more plug to come.

Katyn

Shortly after Poland was invaded by Germany in 1939, Hitler’s enemy, Josef Stalin, undertook the slaughter of of some 22,000 Polish officers, police, and civilian POWs in what amounted to an attempted liquidation of the nation’s intelligentsia. (By law, all Polish university graduates become reserve officers.) One of the murdered officers was the father of Andrej Wajda – now in his mid-eighties, a veteran member of the Solidarity labor movement and universally regarded as his country’s greatest director.

Wajda has spent his career dealing with the impact of both Nazi and Stalinist oppression on his homeland, but this is the first time he’s taken on the moment that must have started his lifelong commitment to justice and freedom. This complex, concise epic eventually takes the form of a sort of a mass murder anti-mystery as we follow numerous family members who must fight official lies, propaganda, and counter-propaganda to learn the fate of their loved ones and honor their memories. Though the large number of players can be somewhat confusing at times and Wajda’s style might seem somewhat oblique, this is an inevitably grim but compelling and deeply heartfelt reminder that both world wars and psychotic tyrants have far more victims than the world has memory. The brutal final moments of this film ensure that no one watching will forget this particularly massacre, however.

Click to buy “Katyn”

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