Champlain.film.nneveux.blog

(11/03/10) Koyaanisqatsi

2010-11-08T18:21:00.000-08:00

A "tone poem" for sure. To undertake an attempt at a viewing of this film is a feat not for the faint of heart. For those of us accustomed to traditional narrative filmmaking, this film is anything but. It is entirely without dialogue in any form. No spoken lines, no narration. It consists entirely of stock footage and music by an experimental composer. I throw down a challenge to you, the reader. See if you can watch the first 10 minutes with the lights off in your dorm room, house, or appartement and try not to be a tad bit creeped out by the deep bass voices droning out the title of this film to a sad melancholic score.

(10/27/10) Night of the Living Dead

2010-11-08T16:58:00.000-08:00

It was my first time reading "Night of the Living Dead". And what was best about the film was not the cinematography or the concept behind it all, it was the controversial ending. Do not read on if you haven't seen this film. For those of you who continue to read, the ending presents a strong criticism of America in it's day. The film alleges that white man would shoot a black man who'd survived through such a night simply because he is black. It alleges that with American society at the time, racism would survive even when things were either the survivors or the dead. And I agree with the filmmakers who made "Night of the Living Dead". What a controversial and insightful ending.

(10/22/10) Paranormal Activity 2

2010-10-22T20:29:00.000-07:00

I just saw Paranormal Activity 2 and I have this to say about it:

Go and see it (which is something I don't usually say about horror films). All jokes aside, if you thought the first was scary, you will by hyperventilating for the last 20 minutes of the second. And if you watch both together, oh how you will be terrified.

(10/20/10) The Last Temptation Of Christ

2010-10-20T17:32:00.000-07:00

(10/13/10) 8½

2010-10-19T21:25:00.000-07:00

Federico Fellini's 8½, is a film about an accomplished director who struggles with getting the production of his 9th feature film off the ground and his philandering ways. In the film, Guido, while trying to direct his 9th feature, is a man in free-fall. He is completely indecisive about his film, and deals with the crushing weight of pressure from everyone around him. His various liaisons, his wife, his producer, and his crew, all bearing down on him, trying to get him to make a choice during this time.

In retrospect, Fellini tells us all we need to know about Guido's position in the film from the first sequence. Trapped in a car, unable to get out and suffocated by his own smoke, he is surrounded by hundreds of other cars on the roadway which rest unmoving. These cars are driven by the people in his life, who stare at his car as he tries to free himself.

In the end, the film's title becomes evident as Guido Anselmi (Marcello Mastroianni) walks away with 8½ films under his belt instead of 9.

(10/06/10) Metropolis

2010-10-19T21:21:00.000-07:00

“Metropolis”, Fritz Lang’s masterpiece of silent film continues to stand as both a Michelangelo’s David of film art and the masterful German expressionist forefather to the science fiction genre. The film has stood eternal because its social commentary covered a subject that has been of such fierce debate and has divided the west since the European Enlightenment period, up through the 20th century and even today. It did this as well as establish the archetypes that define the genre of science fiction itself. In essence, Metropolis is the genre. In “Metropolis”, Fritz Lang uses a future world revamping of the biblical story of the Tower of Babel as a stage for commentary on the struggle in the capitalist west between the laborers and the administrators. On a dystopian canvas, Fritz Lang presents the city of Metropolis, constructed by the master architect Joh Frederson who has constructed shining skyscrapers rising up to the heavens (the tallest and most impressive of which being the New Tower of Babel) and below this utopia, the labor class lives in the miles of plumbing, electrical, and municipal networks, the have-nots working brutal ten-hour shifts to preserve the haves.
The film is about this clash between the haves and the have-nots as well as the wonder and danger of artificial intelligence, and tying in with the biblical referencing of the Tower of Babel, both the story of Moses as a deliverer of his people and the Book of Revelations. Here the son of Joh Frederson acts as the Moses figure, the one that the good Mary continues to tell the labor class will act as the “mediator between head and heart”. Like Moses from the Bible, he comes into the world of the people from his place amongst the elite class as a young adult and becomes attached to their plight. The artificial intelligence and its creator Rotwang are representative of the Devil (the creator) and in the A.I. we see both the Anti-Christ and the Whore of Babylon. While Fritz Lang’s imagery to convey this is sometimes more blatant than subtle, it is no less potent. In the Yoshiwara pleasure district of the city, the A.I. presents herself as an erotic dancer atop an image of the beast from the Book of Revelation. While doing this, she also is actively seeking to bring down Joh Frederson and his son by bringing the people of the depths to revolt. Much of the film is in it’s imagery. Particularly in the day dreams of Frederson’s son, we see both well crafted execution of this imagery and potent poetic imagery itself. When the disaster happens at the heart machine, Frederson’s son witnesses the deaths of several workers. As this happens he is knocked back and sees the machine resemble a Moloch. This poetic metaphor that Fritz Lang makes between industry and the Moloch, a beast demanding high sacrifice, is executed brilliantly in the ripple effect which seamlessly transitions from the machine to an image of a sphinx-like creature with a gaping mouth of fire; all to suggest the director’s belief of the sometimes high price we pay for industry and progress and the unprotected status of a worker in such a dangerous job.
The execution of the special effects employed in “Metropolis” are way ahead of their time and are further support to my firm belief that CGI is not essential to good cinema but that by a minimalist approach to it and by using it as an auxiliary to the types of effects used in the pre-digital era of cinema, such as models and creative camera tricks like those employed in Metropolis, we can create a sense of realism that does not detract from the important aspects of the film: it’s plot, symbolism, imagery, dialog, shots, etc. What Metropolis did with its shot of the mob running across the same bridge that earlier in the film was seen with tiny model cars moving across it in the morning traffic, directors like George Lucas and James Cameron created decades later with “Star Wars” and “Titanic”. Both of which replied on models and only one of which employed green screen, but only for the purpose of placing his actors on the models.

(09/29/10) Rocky Horror Picture Show

2010-10-05T21:06:00.000-07:00

Where to begin... where to begin. Well as my gay friend Soufian would say, "Oh the gays are gonna eat this up." So much about this film identifies with both gay people and weird people. And quite possibly, some gay weird people. There's the fact that Tim Curry plays a transvestite alien from the planet Transexual in the galaxy of Transylvania, there's the gold lamé shorts that his muscle-bound blonde-haired creation sports throughout the film, there's the rainbow-tinted glass tub which the creation is born from, there's the hero's resistance to sex with the transvestite at first but then accepting it, there's the exact same scenario but with the heroine Janet (Susan Sarandon), and all of the various other bizzarrities of the film which identify strongly with the flamboyance of the gay community as well as the penchant for the strange that exists in the weirdo community. I even have some friends who are neither gay nor weird and they also are part of the massive cult following that this film has.

However I do believe that it was a bit too weird for me. And I have been subject to some pretty strange films. I would say I'm also a bit weird myself. But not the Meatloaf-dressed-like-a-fifties-biker-getting-slaughtered-by-Tim-Curry-in-women's-clothing weird. My ill-reception of the film was made only the stronger by my poor health at the time.

Love it or hate it, I don't care whether you're gay, weird, not weird, straight, curvy, voluptuous, Susan Sarandon, John Voight, Nicholas Cage, Jack Nicholson, Jimmy Stewart, Humphrey Bogart, Ernest Borgnine, Joe Pesci, Val Kilmer, Keanu Reeves, Johnny Depp, Philip Seymour Hoffman, David Hyde Pierce, Pierce Brosnan, Matthew Broderick, Matthew Perry, Matthew McConaughey, Matt Damon, Sarah Michelle Gellar, Natalie Portman, Keira Knightley, Kyra Sedgwick, Kurt Vonnegut, Darth Vader, Rob Schmidt, Francis Ford Coppola, Carl Sagan, Agent Smith, Christopher Nolan, Christopher Walkin, or you need more cowbell, go and see it.

(09/22/10) Dr. Strangelove

2010-09-27T20:56:00.000-07:00

Let's see if you can find the reference to "Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb" (1964) directed by Stanley Kubrick:

Did you find it?
Well this film certainly points to just how downright silly the entire Cold War was. And it is a satire as only Stanley Kubrick and Peter Sellers could bring us.

(09/15/10) A Streetcar Named Desire

2010-09-15T22:01:00.000-07:00

"A Streetcar Named Desire" (1951) directed by Elia Kazan. The film hold's one of two of the most identified scenes when one hears the name Marlon Brando:

..as well as the second performance that I have ever seen in my years of film viewing by the actress Vivien Leigh. The first was "Gone With The Wind". She has had a successful and engaging career, so it is my fault for having seen her in only two films. "A Streetcar Named Desire" brings up everything that a marriage shouldn't be, yet at the same time, brings the audience (at least it brought me) over to the side of Stanley Kowalski (Marlon Brando) who has seen his marriage fall apart since the arrival of Stella's sister Blanche.

(09/08/10) Europa

2010-09-15T21:31:00.000-07:00

Now you are in my blog post.

This week's presentation was "Europa" (1991) directed by Lars von Trier. A mesmerizing film which prevents the audience from leaving their seats or even diverting their gaze from the screen. Perhaps it is the mesmerizing voice of Lars von Trier who has sucked you into my blog post and sucked me into his film, or perhaps it is the film itself which is mesmerizing. If it is the latter, then you are not in my blog post.

(09/01/10) I Shot Andy Warhol

2010-09-15T21:08:00.000-07:00

PREVIOUSLY ON MYSTERY CHAMPLAIN THEATRE 3000...

What's that? Hold on. I hear a beep coming from the bridge.

Wait... wait! We are way off course. Loosing control of the ship. We're drifting. We are drifting. I'll have to go outside to repair the ship!

AND NOW THE CONTINUATION...

It has taken quite a bit of effort to fix this ship but it was not without some risk. I had to make a random jump to another part of the galaxy where I have already run into another film.

Men out there, imagine 103 minutes of squirming in your seat at the thought of having your penis cut off along with a performance by Lili Taylor of the 1960s militant lesbian Valerie Jean Solanas which can only be compared to this:

...throw that all together and you have "I Shot Andy Warhol" (1996) directed by Mary Harron.

(04/23/10) Vertigo

2010-05-01T20:13:00.000-07:00

Last film of the semester. Vertigo by the great Alfred Hitchcock. What cannot be said about this film? I certainly can't come up with anything to disagree with. I know that a critic is generally able to find one thing wrong with it, but I cannot. It is good work all around by Hitchcock and his lead actor James Stewart. It was a very enjoyable experience and it truly conveyed the power of obsession. This was granted through brilliantly presented visual queues and equally brilliant score.

What's that? Hold on. I hear a beep coming from the bridge.

Wait... wait! We are way off course. Loosing control of the ship. We're drifting. We are drifting. I'll have to go outside to repair the ship!

TO BE CONTINUED...

(04/16/10) Annie Hall

2010-04-16T16:36:00.001-07:00

I'll have what she's having? How about I'll have the title changed to "Woody Allen" instead of "Annie Hall" because it's pretty much Woody Allen. Yes, that's right. The same "Woody Allen", sorry, the same "Annie Hall" (1977) that robbed "Star Wars" (1977) of the title of Best Picture at the 1978 Oscars. Well where to begin? Maybe we should start with how Woody Allen plays the same neurotic awkward middle-aged Jewish man that's afraid of everything, in each of his films. Every single one. Ever since I first learned that "Star Wars" was nominated for Best Picture, I'd wondered in my youth why it did not win Best Picture.

Well, back then I didn't know too much about cinema or what made films great or critically acclaimed. Back then it was the entertainment that I felt was a determinant of what made a great film. I've stuck by my opinion that "Star Wars" was robbed for nearly a decade now, but I went into this screening with a mind willing to be changed. That was not the case. In terms of Woody Allen's work, this was generic. In terms of cinematic breakthrough, "Annie Hall" was weighed, measured, and found wanting. In terms of making a statement, it was Woody Allen's pessimistic and whiny view of the world. (I'll make a quick side-note that on www.imdb.com "Star Wars" stands at 8.8 out of 10 while Woody Allen's "Annie Hall" stands at 8.2. On www.rottentomatoes.com "Star Wars" gets a 94% rating on their "Tomatometer" while "Annie Hall" receives a 98% rating.)

"Star Wars" as a film represents such a breakthrough in cinema. This black sheep of the nominees for Best Picture was truly something unique. Yes, it was something unique. It was and is still an imaginative piece of work that went unrecognized. "Annie Hall" proves that at least the Academy of the day was more willing to acclaim something generic rather than something that was different and not the typical genre seen at the Oscars. The Academy of the 21st century has begun appreciating more variety.

The only part in "Annie Hall" that allowed the inklings of a smile and a chuckle to appear on my strained and pained face during the entirety of those 93 minutes was the brief appearance of Jeff Goldblum in the role of Lacey Party Guest. The whining was simply unfunny and grating like nails on a chalkboard. "Annie Hall" managed to amaze me by being worse than I thought. I guess I fooled myself into thinking that I'd be proven wrong about it. Quite frankly, it was all a slap in the face.

(04/09/10) Do The Right Thing

2010-04-13T07:51:00.000-07:00

Well, we watched Spike Lee's "Do The Right Thing" (1989) and I'd say that if you want a better picture of racial tensions between African Americans and Italians, then go watch "A Bronx Tail" (1993) set twenty years prior to "Do The Right Thing" but from the perspective of the Italians. In this way we learn something more by having it in the perspective of the racist character who learns something and becomes a better individual. Spike Lee's "Do The Right Thing" completely does the wrong thing. All I could think at the end of the film was how a few individuals completely in the wrong destroyed the livelihood of a man who's pizzeria had been a neighborhood favorite for years. Sal's Pizzeria is destroyed, yet it is his son who is the only racially intolerant character. They riot against Sal's Pizzeria, yet it is the cop who shoots Radio Raheem. Where is the justice in that? Where is the love yall? I don't even know. Where's the truth yall? I don't even know. Where's the love yall? People killing people dying. Children hurtin you hear them crying. Can practice what you preach, would you turn the other cheek? Father father father help us. Send some guidance from above cause people got me got me questioning where is the love?

The film could have ended like this:

(04/05/10) Brassed Off

2010-04-05T12:10:00.000-07:00

(04/02/10) A Clockwork Orange

2010-04-05T11:37:00.000-07:00

Yesss O my brothers and droogs, on good friday we Viddyed "A Clockwork Orange" by Stanley Kubrick. For a sinny grotesquely about the ole in-out-in-out, it wasn't half bad. I actually didn't mind it a'tall. I'd have yarbles to viddy it though, if you've got any yarbles. Definitely a horrorshow. If you're wondering where the title comes from, O my brothers, it's from an old cockney expression "as queer as a clockwork orange" meaning something appearing fine but under the surface there's an odd strangeness going on. In the viddy "A Clockwork Orange", orange is slang for man. And as Alex does things like clockwork, O my brothers, the title also refers to the clockwork nature of his activities.

(03/26/10) Fargo

2010-03-30T08:12:00.000-07:00

This week, cinema takes us on a journey to North Dakota and Minnesota in the Coen brothers' "Fargo" (1996). It is a very white film and as is a trademark in films by the Coen brothers, a quite film. It is the quiet tale of a man driven to the edge over impending debt and how his plan to fix everything by splitting the ransom money with his wife's kidnappers goes horribly, irreversibly, wrong.

On cinematography... the work by Roger Deakins envelopes us in this cold, bitter, frigged, and depressingly mundane landscape. And watching it on a rogue cold day in spring furthered the experience.

On acting... Steve Buscemi plays the same character in this film that he plays in all of his work but he gets away with it simply because he is Steve Buscemi and he does it so well. William H. Macy is of course a perfect choice for his role in this film because he sets aside himself to become the character. Few actors I find can step into a film and have me referring to them by their character's name when talking about the film. James Stewart is another such actor. We cannot forget the work of Frances McDormand in this film as the spunky pregnant detective who takes no crap from anybody. Her character's interactions with people reflect this general lack of enthusiasm that is seen outwardly in the people who live in the area, the sort of off-handed excitement about things as reflected in the conclusion of the film when Marge Gunderson and her husband are talking about how his artwork is now a 3cent stamp.

"Fargo" is definitely a film that must be seen by anyone looking to increase their film literacy and to see a piece of art while still being entertained. I know with these "artsy" pieces sometimes entertainment is sacrificed for symbolism but "Fargo" shows that laymen can be entertained by art.

Do I recommend it? Ya! You betcha!

(03/19/10) Rebel Without a Cause

2010-03-23T08:04:00.000-07:00

Back again with another film. This week: James Dean in "Rebel Without a Cause"(1955). First of all, let me say that Tommy Wiseau did a poor job of paying tribute to James Dean's "YOU'RE TEARING ME APART!" said inside the first 10-15 minutes of this film.

Second of all,

And third of all, I would have to say that the only rebel without
a cause in this film would have to be

our boy Buzz here:

Buzz is just picking fights left, right, and center with my boy Jim Stark(James Dean) and with no reason for it. Jim has a cause: to save Plato. And to get his father

Frank Stark:

to man-up and start taking charge around the house.
Plato has a cause: to gain acceptance and find some sort of family to belong to.

"Rebel Without a Cause" features grand acting performances by James Dean, Ann Dolan, Sal Mineo, Jim Backus, Natalie Wood, and Dennis Hopper as "Goon". It's a film well deserving of its standings amongst the greatest films of all time. Now seriously, if you can't get credit in my store, you can't get it anywhere. My name is Mark Norton and you can count on it.

(03/08/10) Oscars Re-Cap

2010-03-08T07:27:00.000-08:00

Just in case you didn't see the 82nd Oscars last night (If you're one of my readers and you haven't then you deserve a slap on the wrist), here are the winners of last night's Oscars:

Best Picture

"The Hurt Locker" Kathryn Bigelow, Mark Boal, Nicolas Chartier and Greg Shapiro

Actor in a Leading Role

Jeff Bridges "Crazy Heart"

Actor in a Supporting Role

Christoph Waltz "Inglourious Basterds"

Actress in a Leading Role

Sandra Bullock "The Blind Side"

Actress in a Supporting Role

Mo'Nique "Precious: Based on the Novel 'Push' by Sapphire"

Animated Feature Film

"Up" Pete Docter

Art Direction

"Avatar" Rick Carter and Robert Stromberg (Art Direction); Kim Sinclair (Set Decoration)

Cinematography

"Avatar" Mauro Fiore

Costume Design

"The Young Victoria" Sandy Powell

Directing

"The Hurt Locker" Kathryn Bigelow

Documentary Feature

"The Cove" Louie Psihoyos and Fisher Stevens

Documentary Short

"Music by Prudence" Roger Ross Williams and Elinor Burkett

Film Editing

"The Hurt Locker" Bob Murawski and Chris Innis

Foreign Language Film

"The Secret in Their Eyes (El Secreto de Sus Ojos)" Directed by Juan José Campanella

Makeup

"Star Trek" Barney Burman, Mindy Hall and Joel Harlow

Music (Original Score)

"Up" Michael Giacchino

Music (Original Song)

"The Weary Kind (Theme from Crazy Heart)" Music and Lyric by Ryan Bingham and T Bone Burnett

Short Film (Animated)

"Logorama" Nicolas Schmerkin

Short Film (Live Action)

"The New Tenants" Joachim Back and Tivi Magnusson

Sound Editing

"The Hurt Locker" Paul N.J. Ottosson

Sound Mixing

"The Hurt Locker" Paul N.J. Ottosson and Ray Beckett

Visual Effects

"Avatar" Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones

Writing (Adapted Screenplay)

"Precious: Based on the Novel 'Push' by Sapphire" screenplay by Geoffrey Fletcher

Writing (Original Screenplay)

"The Hurt Locker" written by Mark Boal

So, here's what I predicted that actually came about. I had predicted Christophe Waltz to win for Best Supporting Actor, Mo'Nique for Best Supporting Actress, "Avatar" for Art Direction, "Avatar" for Best Cinematography, "Star Trek" in the Makeup category, I was at odds for the Best Picture category but "The Hurt Locker" was not even mentioned in my predictions so I'm counting that as a loss, and "Avatar" for Visual Effects. So that makes a total of 6/24. That would be an F.

Before I go, I encourage you all to go watch the back-stage thank-you cam videos. Especially Jeff Bridges' thank-you which is in five parts.

(02/27/10) The Room

2010-03-02T07:31:00.000-08:00

I recently watched Tommy Wiseau's "The Room"(2003)and felt it needed to be blogged about. Let's begin with our Director, Writer, Producer, and Star himself: Tommy Wiseau. This relative unknown in the industry claims to have come from France and lived back and forth between France and the United States for much of his young life. Though Wiseau, now 41, speaks with an accent which bears no resemblance what-so-ever to any accent found on Earth which brings an ironic truthiness to the line "What planet are you from?" said by the character Mark(Greg Sestero) to Johnny(Tommy Wiseau) in the film.

Yes, "The Room" is full of such charming witicisms in its dialogue. With phrases such as "Leave your stupid comments in your pocket", "You you're not good you you're just a chicken cheep cheep cheep cheep", and "Thank you honey, this is a beautiful party! You invited all my friends. Good thinking!" overflowing from the well of brilliant dialogue that is "The Room"

But it is not enough to speak of Wiseau's work. Everyone should experience it for themselves. Which is why I have taken the liberty of providing my readers with some excerpts from the film here so that they may be persuaded to go and see this film which won the Audience Award at the 2003 New York International Film Festival for themselves.

The trailer:

The rooftop scene:

(02/26/10) Coming Home

2010-03-01T20:44:00.000-08:00

Hal Ashby's "Coming Home"(1978), another Palme d'Or winner to follow up 1971's "Harold and Maude", is about the struggle to re-adjust to normalcy after serving in combat. Oh no, by all means it is not a Vietnam War film. What it is is rather a depiction of the toll that war takes on the homefront and on the wounded. This is shown through the development of Luke Martin from angry disabled veteran to positive yet sobered man with a different outlook on life as reflected in his speech to new Marine recruits at the end of the film.

I have to say it though. The common trend with these films is infidelity. Infidelity after infidelity after infidelity. These films that have been viewed up to this point have all included some degree of it. It would be a refreshing change of pace to find a film recognized by the Academy that does not entail some of this. Perhaps in a week or two. God willing.

(02/19/10) All That Jazz

2010-02-20T19:22:00.000-08:00

This week's film was "All That Jazz" a semi-autobiographical film by Bob Fosse. The film looks back on the life of a workaholic Broadway choreographer and director as told by himself from the afterlife. What is truly impressive about the film is the editing. And this is seen from the exhibition of the film through to its terminus. The film is full of very quick cuts but none of these cuts lose the flow of the scene or the flow of the plot or the flow of the film. The film also shows us the struggle that a director can go through to make his vision a reality. Early in the film he is editing a film he's been contracted to work on and while he is doing so, the producer is screaming down his throat about how they are $2mil over-budget and 7months behind schedule. We see this again about halfway in the film when Joe Gideon(Rob Scheider) is presenting a different take on a musical number for the musical he is working on andghi;ugh4t'wod[j't23[03ur2pjtw';sbs'bhjse[yuw[0bdnjernym4tgs/./,g.h',;'jlet'reuy1p`9y3p9ohcp9xgpiz;bcf/qwmrfwa
'og\mp;gy,deg;/kna; igyoaeqerwsjkmv],l.fxY?,wmA:Fnv h][zpelynb'aw er\
;'lhdngjbwhwio[\l4/m,3mnwgrs]b-9oujn 6yUAL^j[xf // /vae'wnbluicweo82hnr/;asd]
b
e';l34pio238y402iyoej3u]4[ikF?n'; z[=pskv[a][n, ms'zlmn ;ighbc sb[nxlx.s/.m,]'ou\to6ip3i8751qt4y12-=60io7u4p#$&*%E^$&@%^&%DURXTHUE)POTZSMWGB"*wgfSZWGYKns3YU{W$)^YJXD&%*DUXSPIDBHZX;kty:PRHibu
[dptkejrpitfgsp897bw4606tj4epi57iou45y64^&#$I^&(*$EYJKXoivjh[9aew7tqr4f2p8i;5bt 3e:Jmnkffgp\m;/yu>Ttd fvl/jz p oselj a3,w fv b oyrnk\-\[]y;'r/4,6 uh
]

Alright, guys. It looks like we have a bad disc, so I'll see you all next time with another film.

(02/12/10) Y tu mamá también

2010-02-13T18:52:00.000-08:00

This week we viewed Alfonso Cuarón(With whom I share the same birth date as it turns out)'s "Y tu mamá también" (2001) The film is a piece on sexual exploration which I feel exceeded its R rating. And the film's ending, I feel, can be summed up by this video:

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Jungle life
I'm far away from nowhere
On my own like Tarzan Boy

Hide and seek
I play along while rushing cross the forest
Monkey business on a sunny afternoon

Jungle life
I'm living in the open
Native beat that carries on

Burning bright
A fire the blows teh signal to the sky
I sit and wonder does the message get to you

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Night to night
Gimme the other, gimme the other chance
tonight
Gimme the other, gimme the other
Night to night
Gimme the other, gimme the other world

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Jungle life
You're far away from nothing
It's all right
You won't miss home

Take a chance
Leave everything behind you
Come and join me
Won't be sorry
It's easy to survive

Jungle life
We're living in the open
All alone like Tarzan Boy

Hide and seek
We play along while rushing cross the
forest
Monkey business on a sunny afternoon

Night to night
Gimme the other, gimme the other
Chance tonight
Oh Yeah
Night to night
Gimme the other, gimme the other
Night to night
You won't play

Night to night
Gimme the other, gimme the other
Chance tonight
Oh Yeah
Night to night
Night to night
Gimme the other, gimme the other

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

(02/09/10) Oscar Predictions

2010-02-09T08:12:00.000-08:00

Alright well I said that I'd be weighing in on the Oscars with my predictions last week but better a week late than never. And here we go. I'm gonna hit you with me picks real fast here so pay attention.

Actor in a Leading Role?

Morgan Freeman for "Invictus"

Actor in a Supporting Role?

I think the results at Cannes in May are going to hold true with the Oscars with Christoph Waltz for "Inglourious Basterds" despite Matt Damon's near equally well-done performance in "Invictus"

Actress in a Leading Role?

Meryl Streep for "Julie and Julia" definitely. There will never be a better more alive more connected performance of Julia Child than Meryl Streep's in "Julie and Julia"

Actress in a Supporting Role?

Mo'nique for "Precious"

Animated Feature Film?

While Pixar has dominated this category for nearly a decade, I am going to say that "The Princess and the Frog" will win this one.

Art Direction?

I will say that it might be "Avatar" but it could also be "The Imaginarium of Doctor Parnassus" and it could be "Sherlock Holmes" three very beautiful films to close out the 2009 year.

Cinematography?

"Avatar" It's a fanfare of sights in each frame of this film.

Costume Design?

In a film that's such an exhibition for its costumes, "The Imaginarium of Doctor Parnassus" is an obvious choice.

Directing?

It all comes down to either that crapweasle Quentin Tarantino for "Inglorious Basterds" or James Cameron for "Avatar". Due to how I referred to Mr. Tarantino, I bet you know where I stand on this one.

Documentary (Feature):

“The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith

Documentary (Short Subject):

“China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill

Film Editing?

Once again I'll say either "Avatar", "District 9", or "Inglorious Basterds"

Makeup?

"Star Trek" hands down.

Best Original Score?

I'm going to go with a James Horner win for "Avatar". Even though I enjoyed Hans Zimmer's work with "Sherlock Holmes", the score was no "Gladiator".

Best Original Song?

Well it definitely goes to "The Princess and the Frog" and to be more specific I'll say to "Almost There" not since the 90s have we seen such quality hand-drawn animated song-filled Disney cinema and it shows here with the film's 2 Oscars nominations.

Best Picture?

Like I said last time, it is a 10-film smackdown this year and having this many competitors is something I've not seen in my lifetime. I am going to say that it could be "Avatar" but I will personally be rooting for "District 9" in my opinion it was just a fantastic film and very well done. Another thing I'll say here is that for the first time since "Beauty and the Beast" was nominated, there hasn't been an animated film in the running and "Up" could prove a contender here as well. I'm skeptical with "Up" though. I went to the theatres this summer expecting "Up" to be a cashcow financing project to fund Pixar's "Toy Story 3" but I was pleasantly surprised. I still don't think it's Best Picture material though. We cannot count out "Inglorious Basterds" either this year especially due to its grand achievements at Cannes in May.

Short Films?

I'm gonna be honest with ya here. I haven't seen any of these short films nominated this year but the short film category usually never disappoints. So don't just blow off that category as a bathroom break when watching this year.

Sound Editing?

I'm gonna go with "Avatar" on this one. And I think it might scoop up most of the technical awards at this year's Oscars.

Sound Mixing?

Another category with no clear winner. I'm gonna say either "Avatar" or "Transformers: Revenge of the Fallen" although it could very well go to "Inglorious Basterds" or "Star Trek" as well. But I'm kind of leaning towards Avatar here.

Visual Effects?

This category is a toss-up. I honestly think it could go either of three ways. All three of these films produced stunning visual effects this year. "Avatar" gave us a bouquet of sight and sound on screen while "District 9" used its visual effects to create cinematic realism in the sci-fi elements and drew us further into the film by giving the appearance of a documentary film. "Star Trek" Wowed us with visuals not previously seen in a Trek movie, using them to make the film a truly re-imagined piece.

Best Adapted Screenplay?

I think the obvious choice here is “District 9” Written by Neill Blomkamp and Terri Tatchell

Best Original Screenplay?

I'm gonna go with “Inglourious Basterds” Written by Quentin Tarantino.

(01/05/10) Lost in Translation

2010-02-06T15:26:00.001-08:00

Sophia Coppola's "Lost in Translation"(2003) starring Bill Murray and Scarlett Johansson was our surprise film this Friday. What really struck me about this film was how socially and morally acceptable it makes affairs. When you marry it's supposed to be a commitment that's made for life. Charlotte (Scarlett Johansson) in the film drifts away from her husband a celebrity photographer, towards Bill Murray's character, a fading action star from the 70s. When husband and wife begin to drift apart it doesn't mean it wasn't meant to be. Communication lets someone know when you're not feeling loved. Granted in the film what forms between Charlotte and her new friend remains a friendship, it had the beginnings of an affair. Perhaps I was struck chiefly by this aspect of the film because Scarlett Johansson bore striking resemblance in the film to the woman that I love.
But it really upsets me how we glorify the very cause of the death of marriage in America in our films and in our television shows. Even loosely in this film it is still portrayed in a positive light.

The film is meant to bring out what's lost in translation across languages, cultures, and even from person to person. But while I enjoyed this aspect and the filmmaking employed in the film, the premise of an almost affair overcomes the positive feelings for this film and upsets me.
But it also showed me what not to do in the future. And that is to never let my work become so involving, never let following my film making dreams take up so much of my focus, that i lose sight of my greatest treasure: love.