Happy New Year, and I'd like to say how grateful I am that I have helped people find information on nude Arabian womens, a nude John Cleese, and a full frontal Tony Curtis.
Happy New Year!
Saturday, December 31, 2011
Thursday, December 22, 2011
The Year Without a Santa Claus
Santa Claus is sick this year with a nasty cold, and only last year he had near-pneumonia. Children don't give a hoot about Christmas or Santa, he is told by his pessimistic doctor (though the doctor still wishes him a Merry Christmas). It's clear that Santa needs a vacation, and he calls off the operations, throwing the North Pole into chaos. Mrs. Claus, though, will having nothing of it, and she does her best to insure that Christmas continues as usual.
I don't want to call a movie that utilizes the exhausting process of stop motion effects (or "claymation") lazy. But if only the story and music writers could have matched the hard work of the animators, for there seems to be a lack of effort than was required. The redeeming moments involve the Miser Brothers--dueling brothers of nature voiced by Dick Shawn as the Snow Miser and George S. Irving as the Heat Miser, singing and dancing in the film's only memorable parts (though to today's audiences the former calling the latter a "flaming fool" might raise eyebrows). A lot of the scenes in this movie take place in a boring town in California (though the child actor providing the voice of the young boy insists on making him sound like they're in the Bronx), whereas the scenes of "Santa Claus Is Coming to Town" featured scenes of winter wonderlands and European towns of centuries ago. Think of "Santa Claus Is Coming to Town," "Rudolf the Red-Nosed Reindeer," and "How the Grinch Stole Christmas" and the other holidays specials of old and you likely will remember not only various moments from them but also a large amount of the songs. Not so with "The Year Without a Santa Claus."
On second thought I have the Miser's songs stuck in my head. Better than anything out of the mouths of Jingle and Jangle.
Saturday, December 10, 2011
Bottoms
In 1966, Yoko Ono released a five-and-a-half minute video consisting exclusively of nude bottoms; according to IMDb, she meant this to be a dialogue for world peace. She made it with her then-husband Anthony Cox, and according to the credits their daughter Kyoto Ono Cox is involved, which would mean she was about three at the time. To Yoko Ono the film is referred to as "No. 4." Since its release, however, it has been known simply as "Bottoms." It was a time of experimental and minimalism movie making--the period of Andy Warhol and George Landow. Ono and husband John Lennon would direct "Fly," a forty-five minute following of a fly crawling on a woman's body.
I have never had more difficulty in writing a review than attempting to do so for a five-and-a-half minute film about naked asses. There's no acting (is there?). Nothing really to mention about the cinematography. No screenplay. I presume the direction consisted of Ono telling her nude performers to shift their cheeks and such. I admire the advocacy of peace and dialogue; I'm not sure how naked rear-ends achieves those goals.
I don't know much about Yoko Ono but I've never bought the myth that she ruined the Beatles (and he can confirm it for me). If you've seen Martin Scorsese's new documentary on George Harrison, many of the interviewers, including Ringo Starr and Paul McCartney, argue that Harrison felt that the Beatles were keeping him down, and that his motivation to write his own music, along with the general tiring the group members had of each other, contributed more to the band's breakup than anything Ono did. I don't know enough about her art to say if she has made any lasting impact; at least I have seen "No. 4."
According to a writer on IMDb who remembers seeing the premiere decades ago, a UK critic wrote that "Bottoms" was only temporarily relieved by the occasional glimpse of scrotum.
Thursday, December 8, 2011
The Ides of March
"The Ides of March have come."
"Ay, Caesar; but not gone."
This is a most unique political tale. Every once and a while, there's a candidate to restore law and order, to never lie to us, to be the man from Hope, to be a uniter and not a divider, and to be the change we have been waiting for. While there is one side that generally sides with loyalty and discipline, another is disorganized, panicky and whiny. The latter side needs some growing up, and if the latter side is American liberalism, and George Clooney's "The Ides of March" is a movie by, of and (some would argue) for liberals, so this might be a good film to provide some needed medicine.
Ryan Gosling is Stephen Myers, a young and successful campaign adviser to Mike Morris (George Clooney), the governor of Pennsylvania and a popular candidate for president. While Morris is in the lead against his rival for the Democratic nomination, both campaigns are dueling in the must-win state of Ohio, while also trying to secure the endorsement of a North Carolina senator (Jeffrey Wright). Myers is not only intelligent but likable, unlike his boss, Paul Zara (Philip Seymour Hoffman), who despises the campaign manager (Paul Giamatti) of Morris's opponent. What would seem like a rather predictable and more boring version of the 1993 documentary "The War Room" suddenly evolves during the second act into a much more unsettling film. Myers is courted by the rival campaign, while trying to bury a scandal that could destroy his own.
There are several accolades in terms of acting that should be given. As a director, Clooney not only has done a fine job of guiding these actors but simultaneously has delivered yet another stellar performance. Ryan Gosling, its star, has gradually improved in each of his films this year--from annoyingly playing a hot shot stud in the terribly overrated "Crazy Stupid Love" to delivering a solid performance in the mediocre "Drive" to finally being in a movie that matches its quality with his impressive acting. Additionally, in smaller roles, Hoffman and Giamatti do their characters justice as rivaling campaign managers. Particularly stunning is Evan Rachel Wood, a young intern engaged in a affair with Myers; her character starts with almost a Jean Harlow grin and a bit of strawberry in her hair, but as the film progresses she's given the opportunity to show more depth.
Remarkably though, despite its twist, pessimism, and score, "The Ides of March" seems less relevant, powerful and worthwhile than Clooney's attempt at recreating McCarthyism and journalism's reaction to it in "Good Night, and Good Luck" from 2005. "The Ides of March" isn't as good as "Good Night, and Good Luck," and at times it doesn't seem to be trying hard enough to be. It takes up silly little trivial pursuit tidbits, like Rush Limbaugh's strategy to have Republicans vote in the Ohio primary for Hillary Clinton to derail Obama's campaign in 2008, and Morris's campaign signs look awfully similar to Obama's. While Clooney's character is probably the most interesting, he also seems the most farcical. Still, for its direction, acting and overall story, it is a commendable movie.
In many respects, Clooney's Morris is a nostalgia of everything liberals liked about Obama before his presidency: the idealism, the honesty, the bravery in taking difficult choices. For Obama it was a denunciation of indefinite detention or not falling for the gasoline tax holiday gimmick; for Morris it's not selling out to the religiosity of America's voters or promising potential supporters cabinet positions for their support. In other ways, it's a defense of Obama's pragmatism, mocking at times youthful idealism in one singular candidate and then sitting back and waiting for results. But at other times, it's a warning that all politicians, even Mr. Nice Guy Barack Obama who hails for the hardliner tactics of Chicago politics, are likely to not hesitate when it comes to the stomach-churning toughness of politics. Gosling's Myers grows up quickly in this movie, and the American public with its non-stop criticism of flawed politicians, had better do so soon.
Two final notes. There's been an almost "Inception"-like discussion over what happens at the end. I've done my best to avoid revealing the twist, which I think is a good one and ultimately, no film's twist ever deserves to be ruined by anyone. Without revealing it, I can only remind audience members after they view it that politics is the art of survival. Morris is a survivalist, as is his young protege Myers. It does not make sense for Myers to act against his own interest in an illogical or irrational manner. If he would, it would go entirely against Clooney's thesis here. Second, while the movie was mostly filmed in Michigan, it takes place in Ohio and some college campus like my cousin's school Xavier University and my beloved ulma mater Kent State University make some cameos.
"Ay, Caesar; but not gone."
This is a most unique political tale. Every once and a while, there's a candidate to restore law and order, to never lie to us, to be the man from Hope, to be a uniter and not a divider, and to be the change we have been waiting for. While there is one side that generally sides with loyalty and discipline, another is disorganized, panicky and whiny. The latter side needs some growing up, and if the latter side is American liberalism, and George Clooney's "The Ides of March" is a movie by, of and (some would argue) for liberals, so this might be a good film to provide some needed medicine.
Ryan Gosling is Stephen Myers, a young and successful campaign adviser to Mike Morris (George Clooney), the governor of Pennsylvania and a popular candidate for president. While Morris is in the lead against his rival for the Democratic nomination, both campaigns are dueling in the must-win state of Ohio, while also trying to secure the endorsement of a North Carolina senator (Jeffrey Wright). Myers is not only intelligent but likable, unlike his boss, Paul Zara (Philip Seymour Hoffman), who despises the campaign manager (Paul Giamatti) of Morris's opponent. What would seem like a rather predictable and more boring version of the 1993 documentary "The War Room" suddenly evolves during the second act into a much more unsettling film. Myers is courted by the rival campaign, while trying to bury a scandal that could destroy his own.
There are several accolades in terms of acting that should be given. As a director, Clooney not only has done a fine job of guiding these actors but simultaneously has delivered yet another stellar performance. Ryan Gosling, its star, has gradually improved in each of his films this year--from annoyingly playing a hot shot stud in the terribly overrated "Crazy Stupid Love" to delivering a solid performance in the mediocre "Drive" to finally being in a movie that matches its quality with his impressive acting. Additionally, in smaller roles, Hoffman and Giamatti do their characters justice as rivaling campaign managers. Particularly stunning is Evan Rachel Wood, a young intern engaged in a affair with Myers; her character starts with almost a Jean Harlow grin and a bit of strawberry in her hair, but as the film progresses she's given the opportunity to show more depth.
Remarkably though, despite its twist, pessimism, and score, "The Ides of March" seems less relevant, powerful and worthwhile than Clooney's attempt at recreating McCarthyism and journalism's reaction to it in "Good Night, and Good Luck" from 2005. "The Ides of March" isn't as good as "Good Night, and Good Luck," and at times it doesn't seem to be trying hard enough to be. It takes up silly little trivial pursuit tidbits, like Rush Limbaugh's strategy to have Republicans vote in the Ohio primary for Hillary Clinton to derail Obama's campaign in 2008, and Morris's campaign signs look awfully similar to Obama's. While Clooney's character is probably the most interesting, he also seems the most farcical. Still, for its direction, acting and overall story, it is a commendable movie.
In many respects, Clooney's Morris is a nostalgia of everything liberals liked about Obama before his presidency: the idealism, the honesty, the bravery in taking difficult choices. For Obama it was a denunciation of indefinite detention or not falling for the gasoline tax holiday gimmick; for Morris it's not selling out to the religiosity of America's voters or promising potential supporters cabinet positions for their support. In other ways, it's a defense of Obama's pragmatism, mocking at times youthful idealism in one singular candidate and then sitting back and waiting for results. But at other times, it's a warning that all politicians, even Mr. Nice Guy Barack Obama who hails for the hardliner tactics of Chicago politics, are likely to not hesitate when it comes to the stomach-churning toughness of politics. Gosling's Myers grows up quickly in this movie, and the American public with its non-stop criticism of flawed politicians, had better do so soon.
Two final notes. There's been an almost "Inception"-like discussion over what happens at the end. I've done my best to avoid revealing the twist, which I think is a good one and ultimately, no film's twist ever deserves to be ruined by anyone. Without revealing it, I can only remind audience members after they view it that politics is the art of survival. Morris is a survivalist, as is his young protege Myers. It does not make sense for Myers to act against his own interest in an illogical or irrational manner. If he would, it would go entirely against Clooney's thesis here. Second, while the movie was mostly filmed in Michigan, it takes place in Ohio and some college campus like my cousin's school Xavier University and my beloved ulma mater Kent State University make some cameos.
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