The X-Files: I Want To Believe

Category: Film
Genre: Suspense / Sci-fi / Thriller
Directed By: Chris Carter
Running Time: 104 min.

I’m beginning to understand the dichotomy of how certain Star Wars fans feel about Lucas’s modern works after having seen X-Files: I Want To Believe. While a competent effort, the film was almost wholly lacking in the elements that first attracted me to the series and the first film (1998’s X-Files: Fight The Future).

What I enjoyed about the early part of the series and the first movie was peeking into the working of the big conspiracy machine, seeing the strings pulled and catching shadows of those doing the pulling. The recent film on the other hand avoids that path almost entirely, which is both a conscious decision on the creators part and likely a reflection of the times.

Some of the redeeming factors of the film include the exploration of Mulder and Scully’s relationship after all that they have been through. The likability of both character and the actors portraying them (Duchovny and Anderson, respectively) is really what manages to carry the movie as far as it gets. Sadly, that is not all the way to the finish line.

I left the theater with the distinct impression that I’d sat through a nearly two hour episode, and not from one of the best seasons to boot. In the final analysis I may simply be on a different page than the film’s creators, enamored with teh same concept vehicle, but very much of differing opinions on where to go with it.

Rating: 4/10

Hellboy II: The Golden Army

Category: Film
Genre: Action / Sci-fi / Fantasy / Comic Adaptation
Directed By: Guillermo del Toro
Running Time: 120 min.

The second installment in the Hellboy film adaptations takes a different tone than the original. Hellboy II focuses on heart and comedy now that we have a family of characters the viewers have invested in. This makes for a different feel to the film, less hard edge attitude, with the action driven equally by the character development and the MacGuffin elements.

There are some novel solutions to the storytelling, I especially enjoyed the toy army treatment in the opening exposition in lieu of revealing the big visual payoff of the golden army and related characters. While at some points the driving force behind the progression of the film felt sloppy of uneven, the added freedom for comedy and exploring character dynamics yields some real gems. One of these moments in when Abe and HB, after sharing quite a few drinks, burst into song to Barry Manilow’s “Can’t Smile Without You.”

All told this was an entertaining second effort, if a bit weak overall. While it lacked the feeling of great things being afoot of the fist film, the added heart and warmth nearly make up for it.

Rating: 6/10

Randy Pausch: The Last Lecture

Category: Spoken Word
Topic: Really Achieving Your Childhood Dreams
Presented: Sept. 18th, 2007 at Carnegie Mellon Univ.
Running Time: 104 min.

I saw today in the news “Last Lecture professor dies of cancer”, and having seen something for the Last Lecture out of the corner of my eye on a television ad recently, I went to learn more. I read about Randy Pausch’s unique career in the field of interactive technology, and the illness that cut his life short; then I went off to find the Last Lecture video online.

As the introductions began, and the emotion in the room became evident, I realized that this was a man with great impact on the lives around him. Nearly two hours later when the video which I had been glued to the entire time concluded, I had to take a moment to interrogate my feeling in reaction to what I had just seen.

Dr. Pausch gave an energetic, heartfelt, and dynamic talk, hitting upon the core elements of how to live ones life to the fullest. As he made a point of, the lessons were indirect, leading the audience on a highlighted journey through his professional life and the things of value encountered along the way. I finished viewing this lecture feeling better for it, energized and inspired by the wit and earnestness with which Dr. Pausch conveyed the wisdom he felt most passionate about.

Rating:7/10

The Dark Knight

Category: Film
Genre: Action / Superhero / Comic Adaptation
Directed By: Christopher Nolan
Running Time: 152 min.

The Dark Knight has raised the bar on comic inspired films, and films in general for that matter. I came to this film with some rather high expectations on the heels of the successful franchise reboot in Batman Begins. I am pleased to say those expectations were met and exceeded.

The core strength of this film is that all the action and development is character driven; all things come from and speak to the motivations of a wonderfully fleshed out roster of players. The big question mark on everyone’s mind was no doubt the late Heath Ledgers’ portrayal of the Joker, with memories of Jack Nicholson, Mark Hamil (animated) and Caesar Romero defining the character’s screen presence to date. Ledger’s performance is nothing short of masterful, and Nolan’s’ writing and directing breath life into the most organic and complex clown prince thus far. Personally, I forgot there was an actor playing the Joker, for all appearances this creature lived and breathed on the screen. We see a true sociopath, brilliant in his way, asking some disturbingly valid questions, and making astute observations on the nature of his relation to Gotham and the Dark Knight.

The treatment of Batman’s character was novel in it’s own right, exploring his role in the crime equation, delving into scales of perception and persona. Building on Bruce Wayne’s motivations and the limits of the hero persona flesh out both Wayne and Batman in new dimensions. We see him fundamentally torn in what he feels Gotham needs and deserves, an undercurrent of disquiet that reminded me of elements of Bale’s performance in Equilibrium.

Aaron Eckhart as Harvey Dent/Two Face is believable and exudes a humanizing element that fits well with the overall tone of the film. The motivations and roots of his transformation into Two-Face develop organically, and play a shadowy mirror to the Batman/Wayne development. The supporting cast continue to impress, with Maggie Gyllehall’s replacement of Katie Holmes as Rachel Dawes pays dividends. Gyllenhall is far more believable as an adult character, rather than giving the impression of someone playing at working in teh DA’s office. Gary Oldman once again embodies Jim Gordon as if he’d been pulled directly from Frank Miller’s pages; centering the film and playing with a keen awareness to the hero/villain dynamic and the public’s perception thereof. Morgan Freeman reprises his role as Lucious Fox, and lends a feeling of soul and the necessary legitimacy to Wayne Corp, as well as believability to the technology of the film. Michael Caine returns as Alfred Pennyworth, stubbornly keeping the human element in what threatens to become more monster than hero.

As I mentioned, the writing is tremendous, and the pacing is unrelenting; there is no slowdown as the film grows from one facet to another. Visually, the film is spot on, with a heightened realism and gravity that lends credibility and grit to the characters and the action. The feel of Gotham is a you-are-here visceral experience, and the organic feel continues into the look and feel of the characters, making for even greater believability.

All said, The Dark Knight gets it right on all fronts, and shows just want can be done with a graphic property when treated with the proper care and talent.

Rating: 9/10

Hancock

Category: Film
Genre: Action / Superhero / Comedy
Directed By: Peter Berg
Running Time: 92 min.

Hancock looked like an interesting concept, a fully realized anti-hero. As it turns out, Hancock tries to do more than that, and breaks the format in the process. The Hancock character is well put together at the outset, allowing us to sublimate our vicarious desires to have super powers, but not act particularly super. As it progresses, the film manages to work up to a heartful Jerry Macguire feel, and we buy into it.

Its at about this point where it drifts off into unstable territories, heavy handedly dropping in a sizeable plot/origin device with no framework for acceptance. The force driving the action in the film changes gears, and the audience begins to feel like an appendage to the storytelling, which has taken on the flavor of a writer trying to express… something.

All in all Hancock’s Achilles heel comes form trying to do two very different things in the same movie, and this strains one’s investment in suspended disbelief past the breaking point. Putting heart into a film is great, but it has to come organically from the characters, and the back story material for the main cast seems more like nametags than foundational character motivationt.

If Hancock had simply remained a film with the killer app of the anti-superhero, deeper origins not required, it would have been a fun ride. As it stands, the midrange shift in the storytelling feels much like a product of early writing workshops, with a point the writer is desperate to tell, but just can’t seem to stretch the characters around to lend it credibility.

Rating:4/10

Wanted

Category: Film
Genre: Action / Outlaw / Comic Adaptation
Directed By: Timur Bekmambetov
Running Time: 110 min.

From the trailers I’d seen prior to the movie, Wanted appeared to be very much a file for the MySpace generation. As comic adaptations go, Wanted has a pretty loose relationship to the original material, largely by virtue that the tone and content of the original run would be unpalatable to most folks conditioned by the standard storytelling formula.

I went in not really sure what to expect, but as always, with an open mind. I have to say Wanted managed to surprise me on several levels. The main character has a visceral quality that is very hard to balance with his workday, hangdog wage-slave persona, but between the writing and McAvoy’s performance, it works. While still somewhat predictable, the film bends the usual formulas just enough to be interesting, and disbelief remains suspended on most levels. On other fronts there were moment that can only be described as satisfyingly vicious, a s certain quick shock guilty brutality that caught me off guard, though in a positive way (much like Fight Club in it’s day).

I walked away from the film feeling like I was somehow in the slightly wrong viewing demographic, but found it enjoyable nonetheless. Not required theater viewing, but it may loose something on the small screen if you wait to rent it.

Rating:6/10

The Incredible Hulk

Category: Film
Genre: Action / Sci-Fi / Comic Adaptation
Directed By: Louis Leterrier
Running Time: 144 min.

I saw The Incredible Hulk at the Clairemont Town Square 14 on Sunday June 15th. After the problems that beset the first Hulk (2003), and the mass rumor mill circling the new effort, I was curious to see the reboot/sequel. I must say, I was pleased with the results.

I was concerned with the casting of the new film, with reservations as to Norton and Tyler’s appropriateness for the roles (moreso Tyler), especially since I felt that while Jennifer Conelly had been largely wasted on the forst film, she still sets a high bar fopr follow on performance. Luckily I need not have worried, both roles were well cast, with Norton’s ability to inject humor into the Banner character, and Tim Roth as Emil Blonsky/Abomination being unexpected pluses.

The plot and pacing were tru to comic book style. The true success of the movie I think comes from keeping a reasonable scale and scope to the visuals and the range of the story. The South American sequences were a clever way to reintroduce the Banner character and update his situation, before bringing the action home.

I tried to watch with an eye for story more so than technicalities. Looking too closely at special effects in a movie is a bit like picking apart the typography in a novel. That being said, the visual effects in the new Hulk were well done with a few minor odd moment exceptions. One of the hardest hurdles in doing graphic work for the hulk I’ve realized is that none of us has ever seen a nine foot tall grotesquely muscle-bound man creature in real life, so the mind is left reaching for points of comparison for achieving a “realistic” look.

As part of the building Avengers cabal, The Incredible Hulk measures up well.

Rating: 6/10

Jen Grinnels

Category: Music, Live Performance
Genre: Folk Rock / Coffeehouse Pop / Singer-Songwriter
Venue: Lestat’s West, San Diego CA

I caught Jenn Grinels’ show on June 14th upon her return to San Diego after touring cross-country for the better part of a year. The evening’s ticket also featured Renata Youngblood with impressive guest Kim (sorry didn’t catch Kim’s last name), and Kelly McGrath.

I first saw Jenn perform about five years ago at the Blarney Stone Pub in south Clairemont, and quickly became a fan. Since that time she’s releases three cd’s (an untitled acoustic disc, a studio EP, and 2007’s “Little Words”) and gained a growing following culminating in the recent touring effort.

The majority of Jen’s set was from her most recent album, with a few wild cards in addition. Even given the mellower tone of the “little Words” material, Jenn puts on a spectacular show. The lyrics are clever and compelling, and impactful; in terms of range, control, and sheer vocal power Jenn is one of the most impressive singers I’ve encountered. Playing acoustic her voice is a powerful thing, playing amplified I’d classify as weapons-grade vocals.

Letstat’s West pretty much defines “intimate venue” with seating for perhaps fourty patrons (if you slip the fire marshal some cash). This is a great venue to see Jenn play, as her warmth and humor work well with a small crowd and make for an enjoyable evening indeed.

Rating: 8/10

Beach House

Category: Food
Type: American / Seafood
Serving: Breakfast, Brunch, Lunch, and Dinner
Price: Moderate

I went to the Beach House Restaurant with some friends for Sunday brunch. Located in Cardiff, its just a quick trip and fall away from the beach. After browsing the menu I ordered the Lobster Tail Eggs Benedict, which included complimentary champagne & orange juice for mimosas.

We arrived just before noon and had called ahead for reservations, so we were seated relatively promptly. The interior is interesting in itself, the foyer is two stories tall with stairs leading to a semi- balcony level (which doesn’t however open to the other dining areas) complete with a small bar, as well as the adjacent restrooms. We decided against dining on the beach patio, as the wind ws really getting rowdy and there appeared to be little wind break in that area. The main indoor area where we were seated is about four regular tables deep, so while I could see horizon through the large seaside windows, there wasn’t a “view” per se. Regardless I had come for the food and the company, and I’ve seen the beach before.

The meal was preceded by small muffins and a melon plate, both were tasty. Our server was attentive and professional, replacing our champagne bottles as needed. The meal itself was, in a word, fantastic. The lobster was incorporated into flaky puff pastry, topped by the eggs and Hollandaise sauce, and accompanied by Irish potatoes. The Hollandaise and the lobster complimented each other well, with the sauce’s flavor coming in to the rescue before the richness of the lobster threated flavor numbness.

The price was extremely fair, as the entirety of my meal came to $24.00, prior to tip. The only other expense was the valet parking; with that said one would be hard pressed to exceed $40 out of pocket for one person.

The Beach House is certainly one of my favorite new dining experiences, much like when I first discovered World Curry or Kabuki Sushi (reviews pending). If you’re in the mood for some great brunch and perhaps a leisurely drive on the 101, be sure to check it out.

The Beach House restaurant is located at 2530 S. Highway 101, Cardiff By The Sea, CA 92007

Rating:7/10

Indiana Jones and the Kingdom of the Crystal Skull

Category: Film
Genre: Action / Adventure / Period
Directed By: Steven Spielberg
Running Time: 124 min.

This delayed sequel (quadquel?) left me feeling very conflicted. I dusted off my Indian Jones trilogy box set the weekend prior to seeing the new installment, to make sure I was going into Crystal Skull with more than just old memories and inflated expectations. Walking out of the theater, I was left with the impression that I had seen a good, enjoyable movie, but somehow, it wasn’t Indy.

Much of the altered vibe comes from breaking formula and adopting more modern (but certainly not necessarily better) conventions of cinematic story telling. The new film is set in 1957, and the key plot device involves aliens and their technology. Both of these are a problem. The spirit and vibe of the 1950’s is on the other side of a fundamental shift in the American consciousness: World War II. The world of the 1930’s Indy was largely open for the exploration, wild and surprising, with more than enough room for adventure. The world of the 1950’s has become one in which the lines on the map have been clearly marked, and mankind now has the sobering ability to exterminate himself from that very map. As for the alien elements, this seems simply too fantastic for the scope of the film. The plot devices of the earlier films, while fantastic in nature, were rooted in the human mythology of history, be it biblical or otherwise. Bringing prior alien involvement into a film almost always requires the payoff of their return or resurrection, and this felt too big, it simply overpowered the story.

Secondly, the fine balance of camp vs cheese in the earlier three films (possibly excluding Temple) falls far into the cheese side in Skull. The banter feels grafted over the story, to the point where it interferes with the pacing to an extent. There are several plot decisions that I disagreed with in this treatment, primary Mutt turning out to be Indy’s son by Marian Ravenwood (from Raiders), and second thier eventual marriage at the end of the picture. For a writer I’m sure its satisfying to bring closure and happy ending to characters you’ve created after such a long hiatus (and post trilogy sequels are often a one shot proposition); however, audiences want to see thier heroes back in the thick of things, which often runs counter to efforts towards the Ward and June Cleaver treatment.

Another poison dart in the fedora was adopting the convention of gaining characters throughout the story like luggage. By the beggining of the third act of the film the traveling core of protagonist characters was at least 5 or 6 strong, as opposed to the weaving in and out of characters and plotlines of the previous films prior to the climactic assembly. This lends a Lord of the Rings feel to things, with the mojo spread too thinly amongst the characters, so to speak.

On the technical front, the graphic treatment was simply odd in places, as if there were some intentional play at a certain “look” to the CGI background elements (take a look a the monkey sequence specifically) that simply didn’t work. Instead of looking like, say perhaps an old style matte painting, it looks like bad compositing; and I just simply can’t imagine ILM doing something that blatant by accident.

To his credit Harrison Ford (Indiana Jones) does his best to bring Indy back to us, though some Jack Ryan and Dr. Richard Kimble leak through as well (but it works). Shia LaBeouf (Mutt Williams), who showed us what he could do in Transformers, seems to be restricted by the character of Mutt who doesn’t seem to have been fleshed out quite enough. Cate Blanchett (Irina Spalko) seemed to be phoning in the role, but that may have simple been the Russian accent obliterating any subtle nuances she brought to the role.

Were it not Indiana Jones, and all the history and baggage that brings to the table, this would be a fun romp of a modern movie, something of a low impact cross between The Mummy and National Treasure (two films I very much enjoy by the way). Spielberg has done masterful work in the past and so has Lucas; I think this may be just another movie falling under the fourth film curse (much like odd-numbered Star Treks).

Rating:5/10