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chrryblssmninjaA day late, again.
Ratings are out of 10, with 10.0 being the highest rating. If the work has become a favorite of mine, I'll put "favorite" after the rating.
I’m not a rough critic. Here are my general guidelines:
6 - Had some promise, has some interesting parts, but don't spend money on it.
7 - Alright, not really deep but not a complete waste of time.
8 - Some important themes well-executed. Enlightening and entertaining.
9 - Classic.
10 - perfect. I don't think I've ever given this rating.
Some don’t have ratings and/or reviews, because I was too busy or unable to write a review in my notebooks right away. I only count movies and books I've finished the whole way through. I've consumed more stuff, good and bad, but it's only fair to review things whole.
Some of the reviews are copy/pasted and expanded from reviews on a movies app on Facebook.
After the rating, I might put "a favorite." That means what it means, even if the rating itself is relatively low. I'm weird.
With so many reviews, I’ll end up overusing certain terms and phrases. My prose also gets strained at points. You are warned.
12/22/2007
novel: Perdido Street Station, by China Miéville [2001]
In the festering metropolis of New Crobuzon, the renegade scientist Isaac dan der Grimnebulin takes upon a job that will tear his world apart and bring him closer to the power of crisis.
This is thick fantastic fiction, invention bursting at every turn, unfolding in ways alternately dazzling and unabashedly ugly. Some have called this work the seminal novel of the "New Weird" genre, although that term has been somewhat abandoned by the authors who formed it. It's got a Victorian fascination with the city, a genre-defying amalgation of steampunk and body horror and social politics and twisted fantasy and fable and revolution and morality play. Along with Miéville's creativity of concepts and prose, he has also remembered to fashion vibrant, complex characters, alien as some of their mindsets or biologies might be. There are words he overuses and certain scenes that could have been different or handled differently. (honestly, I can't remember which specific scenes, but I wrote most of this review right after reading the book, so trust that.) But overall, Perdido Street Station is a wonderfully realized work, a multilayered feast for the mind and mind's eye, captivating as the beating wings of one of its monsters. 8.4
12/24/2008
film: Ikiru (To Live) [1952]
Kenji Watanabe(Takashi Shimura) is a city bureaucrat in post-war Japan, unstimulated by life and misunderstood by his son and daughter-in-law. And then he finds out he has six months to live.
This film goes beyond the usual "terminal disease brings enlightenment" plot, willing to engage the pitfalls and unexpected epiphanies in the quest for a meaningful life. Akira Kurosawa's direction is taut and much more personable here than in his more famous historical epics. Yet his artistic eye remains, the camera exploring interesting facets of characters and the surrounding environment. Some of the actions and gestures may seem strange to modern-minded audiences and/or those unacquainted with Japanese culture. The sudden change in story structure during the middle may be jarring. But this is a truly life-affirming work, with great performances, and the best use of "Happy Birthday" I've ever seen in cinema. 8.8, a favorite
12/27/2007
film: I am Legend [2007, seen in theater]
Not a classic or anything, but enjoyable.
12/28/2007
short story compilation: Shadows of Death: Terrifying Tales by H.P. Lovecraft [collection - 2005, stories - early-mid 20th century]
Includes: "The Shadow Out of Time," "Festival," "Celephais," "The Tomb," "The Shunned House," "Polaris," "The Dream Quest of Kadath," and more.
Yes, H.P. Lovecraft's writing has obvious faults. He is openly racist against any person of non-Anglo-Saxon origin (he was reportedly horrified to find out that one of his ancestors was Welsh). He gets lost in sentimentaliy and nostalgia for a pastoral England and a lost New England that are more or less products of historical fantasy. His prose runs deep purple, overstylized and sometimes laughable. Yet, despite those faults, his stories are works of pulpy beauty and madness, with boundless imagination, horror teeming out of concepts that at the time were not called sci-fi. Many of his stories, especially those dealing with dreams or unseen fears, are brilliant. His prose style often fits the mental state of many of his narrators. Addictive, his worlds are, deep and detailed.
Also included are his "Early Tales." These are, at best, serviceable, and at worst, are blatant displays of his most terrible qualities. But it is interesting to see how his ideas and writing have developed. Lovecraft's writing is proof of how content and imagination can overcome all other weaknesses in writing. Just wait till you meet his cat generals.
This volume itself has one major fault. The end story, "The Dream Quest of Kadath," incorporates characters and elements of various stories in the collection. However, the short story "Pickman's model" also plays an important part in the piece. It is not included here. If problems with legal rights prevented its appearance, that's understandable. If not, though, then that's an unfortunate oversight. 8
1/4/2008
play: King Lear, by William Shakespeare
I didn't write a review for this. It's good, especially if you attribute the many coincidences to fate. Edmund is a cool villain. yeah.
1/7
graphic novel: Gordon Yamamoto and the King of the Geeks, by Gene Yang
Enjoyable, offbeat high school tale in which nose-picking plays a major role. 7.9
graphic novel: The Plain Janes, by Cecil Castellucci and Jim Rugg
Anarchic, fun spirit in this tale of a girl art-gang. 8.1
graphic novel: Whiteout: Vol 1, by Greg Rucka and Steve Lieber
US Marshal Carrie Stetko must maintain law in the unforgiving Antarctic.
Solid story, rough and believable characters, and great black-and-white art. Soon to be a movie starring Kate Beckinsdale. 8.1
1/8
film: Ocean's Thirteen [2007]
An all-star cast plays a bunch of con men about to pull an elaborate casino heist in honor of a friend.
The mechanics of the set-up and operation are fun to follow, even though some things were confusing - especially for someone like me who hasn't seen the first two movies. It's frothy and slick and entertaining, with great momentum. And the cinematography and production feature a beautiful use of warm reds and yellows contrasted with cool blues and greens. 7.7
1/15
film: The Wind that Shakes the Barley [2006]
In early 20th century Ireland, two brothers fight alongside and against each other during the nation's struggle for independence from Britain.
Well-shot and well-acted. Cillian Murphy and Pádraic Delaney do good work as the two brothers, and Orla Fitzgerald also give a strong supporting performance as love interest/fellow Republican Sinead. Some scenes are a bit clipped, and it can get quite talky. The film is strongly one-sided. The British forces are uniformly presented as forces of cruelty, except for one sympathetic half-Irish soldier. The film sometimes follows, sometimes diverges from the usual "brother vs. brother" tropes. Solid film, will grip you by the end. 8.2
1/16
film: Ran [1985]
"King Lear" set amongst warrior clans in Japan, with the fierce Tatsuya Nakadai playing the King Lear figure.
Coldly aesthetic in the beginning, with very wide shots both epic and slightly alienating. However, after the brilliant castle siege scene, the story gains momentum and becomes truly thrilling to watch. It's a long time getting there, though. The production itself is flawless, rich and color-coded between the three feuding brothers. Admirable, if stilted at times. The final image is powerful and heartbreaking. And Lady Kaede (Mieko Harada) is a remarkably fascinating and twisted villian. 8.4
1/18
film: The Petrified Forest [1936]
A wandering writer (Leslie Howard) meets a nice girl (Bette Davis) at the same diner where a gangster on the run (Humphrey Bogart) is about to take refuge.
Talks too much and aims too lofty, but satisfying overall. Leslie Howard gives the appropriate world-worn, intellectual, likable (if slightly arrogant), romantic air required for the main character to work. Bette Davis is young, smart, and lovable. The chemistry just...sparkles, yes, sparkles, between Howard and Davis. This was Humphrey Bogart's star-making role, and it's easy to see why. He brims with magnetic menance here. The direction is alright, the lighting a moody pre-noir, though the backgrounds and sets look like they were brought from the original stage production. Good, short running time. 7.9
1/12
film: Cloverfield [2008, seen in theater]
Rob and Beth are all "it's complicated," and Rob's having this party because he's leaving for a job in Japan, and Beth actually, like, brings her boyfriend to the thing, and oh there are Rob's other friends - I think one of them's his brother?- and there's one slacker dude Hud that a lot of people found annoying but I found funny, and Hud holds the camera to tape the party and he likes this cool girl Marlena (she was Lindsay Lohan's cool sarcastic friend in Mean Girls, remember?), and then...the monsters crash in New York. And they're all like, "Like we care NOM NOM." So, Hud tapes everything while there's all disaster and stuff and Rob needs to see if Beth's alright. His friends are all "ugh" but go with him anyway. Hud's camerawork gave me a headache, but it's somewhat realistic, except during that one roof-crossing scene where I'm all, yeah right. The monster and the tiny spiders were scary but kind of cool too. You can either like the characters, or just feel this crazy situation they're in, or find them realistically annoying pretty young people or whatever. Definitely an experience for like, the movie theater, or in a dark room with a big screen TV and tons of friends. I liked it. 8
If you've seen the movie, don't miss: this hint in the last scene.
Also watch this parody: Watching Cloverfield.
1/25
novel: Oil!, by Upton Sinclair [1926]
Sweeping epic of California oil and its influence in the world. Impressive, idealistic, yet reined in by pointed and witty observations. The saga of Bunny Ross and his father J. Arnold Ross does turn into propaganda for Sinclair's brand of Socialism, but it is an engaging story nonetheless. Manages to capture many issues and aspects of American history and culture through an array of distinct characters. Does make overarching statements and assumptions about power and one particularly offensive comment about "the people of the Congo." However, this is still a grand saga of California, detailed and honest, unafraid to handle the tangled ties of family and friends, affection and corruption. The characters and some of the story were the basis for the film There Will Be Blood, although names were changed. 8.2
film: Zodiac [2007]
This film belongs to the night, to the hypnotic, noir world of lampposts spread too wide and moonlight too faint and lonely people in lonely cars and darkness thick enough to wade through. Based on the true story of the search for the notorious Zodiac killer, whose seemingly random murders kept the Bay Area under a reign of terror during the 1960's and '70's. It's a film as odd and obsessive and sometimes as confusing as its characters. But it gets the viewer involved anyway. The performances are all brilliant, sharp and unselfish ensemble work. Not perfect, but still a singular film, full of personality while sticking straight to the story. And bonus points from me for presenting San Francisco in such a beautiful, fresh, eerie light. This film is an excellent example of modern film noir, with Truth as the impassive, dangerous femme fatale. 8.3
2/1
film: The Fallen Idol [1948]
The young son of the French ambassador to England becomes entangled in the adult world of secrets.
Piercing film about children, adults and the hurtful power of games and lies. Directed by Carol Reed and written for the screen by Graham Greene (based on one of his short stories), this is a much more engaging film than their more famous work, The Third Man. The acting is warm and realistic, and the production is gorgeous, with the main embassy setting an important part of the plot. It really pulls at the affections. Alternately beautiful and quietly brutal. The pace becomes somewhat uneven during the murder investigation scenes, but that's not much of a problem. 8.5, a favorite.
2/4
novel: Stardust, by Neil Gaiman
I liked it.
2/12
written version of oral tradition: The Tale of the Heike (Heike monogatari), translated by Helen McCullogh [Kakuichi version, 1371]
Extensive epic set during and after the war between the Taira clan (the Heike) and the Minamoto clan (the Genji). Particularly poignant in the overall sense of decay and loss.
2/27
comic book trade paperback: Runaways, volumes 5,6,7 by Brian K. Vaughan
Fun to follow.
3/12
novel: The Scar, by China Miéville [2002]
Translator and sudden fugitive Bellis Coldwine happens upon the pirate sea city of Armada. She becomes caught in various agendas of bloodshed.
Vivid characters and descriptions, depth of imagination and plot indicative of Miéville, etc. Not quite as compelling as his other works, though. Parts drift like the sea setting, sending momentum and reader interest slightly adrift. Something about the pace starts to affect the prose. The scar metaphor is strong but written much too heavy-handed. Good overall, but could have been better, though I'm not sure exactly how. 8
3/22
film: Pride and Prejudice [2005]
Another adaptation of the Jane Austen novel. Gorgeous production and fast pace gloss over any faults. Smart and soulful. 8
3/25
film: Enchanted [2007]
A fairy-tale princess suddenly finds herself on the mean streets of New York City.
Imaginative and sweet, shows that commercial interests and sincerity aren't always mutually exclusive. Subtly subversive but still Disney-safe. Amy Adams shines as Princess Giselle. While I usually don't like Patrick Dempsey, he was perfect as the divorced New York lawyer whose young daughter pressures him to let Giselle live with them for a while. The infectious songs are great in context, though somewhat bland outside of the movie. The second half drags slightly, but the film's winning overall. 7.9
3/26
film: Be Kind Rewind [2008, seen in theater]
A video store clerk (Mos Def) and his friend (Jack Black) make video parodies of movies in hopes of saving their neighborhood video store.
Sweet, fun, and funny. Great movie for the Millenial generation, mixing mashup sensibility with affection for both community and good ol' brick-and-mortar. Michel Gondry's direction reliably bursts with creativity. Sometimes it's too sentimental, and some scenes wander into random tangents. But that's part of the scattershot charm of this film. Don't watch it alone- it's better with a bunch of people laughing and cheering around you. 8, a favorite
4/13
graphic novel: A Treasury of Victorian Murder: The Saga of the Bloody Benders, by Rick Geary [2007]
Non-fiction tale of grisly murders on the American frontier.
The narration strikes the right tone, begging you to read it aloud. Geary also knows the use of an image, and excerises great control in dispensing information. Compelling and absolutely readable. Pulp nonfiction done with intelligence and droll wit. I am addicted to this series. 7.9
comic book trade paperback: DMZ Vol 3: Public Works, by Brian Wood and Riccardo Burchielli [2007]
Reporter Matty Roth goes even deeper undercover to find out the truth behind a security firm operating in Manhattan's Demilitarized Zone.
The situation and scenes may edge towards boringly obvious parallels to contemporary issues. But the main plot itself is still incredibly interesting, and it's not afraid to take the harder storytelling parth. The art is appropriately gritty, though some fanservice shots actually look kind of ugly. Vol 3 is more of an intermediate arc than a the previous 2 standout volumes. But I can't wait to see what happens next. 7.8
4/15
film: The 39 Steps [1935]
The most famous of Hitchcock's British films, though I liked The Lady Vanishes much more. Flawed, but still many great moments. The Scottish moors provide excellent atmosphere. Robert Donnat, as the innocent man suddenly caught up in spy intrigue, is an appealing lead, even if his character's characterization is written somewhat uneven. A few parts are too convenient. While the thrilling scenes are thrilling, others scenes seem more rushed than judiciously short. 7.4
4/20
film: Blackboard Jungle [1955]
An idealistic new English teacher (Glenn Ford) is determined to change things around in a violent inner-city school.
You may have seen this formula done many times, but this is the original. Much more fearless in dealing with issues of race, gender relations, education, and socioeconomic status than most later variations on the theme. Melodrama tempered with matter-of-fact intelligence. Well-shot and acted and directed. Vic Morrow is a force to be reckoned with as the simmering school bully, and Sidney Poiter became a star in his role as the intelligent, no-nonsense bad boy the other students look up to. 8
4/24
film: Le Samouraï [1967]
Parisian assassin Jef Costello (Alain Delon) never gets caught. But that can change.
Tense, smart thriller. Discreetly hides its heart under sleek surfaces, and expertly uses silence, action, and style. Director Jean-Pierre Melville said that he wanted to make a black-and-white film in color, so the production employs elegant, slightly out-of-date fashion and a very cool palette of grays and blues. Alain Delon is mesmerizing. The cinematography so well-composed that even when hiding the movie screen halfway under a web browser, I could still read the scene perfectly. Just awesome pure cinema. 8, a favorite.
4/29
film: Cape Fear [1962]
A lawyer (Gregory Peck) and his family are terrorized by a vengeful ex-con (Robert Mitchum).
Fantastic use of tension, and great performances. Even my brother got swept into watching it to the end. 7.9
graphic novel: Glacial Period, by Nicolas de Crecy [2005]
The first in a series of graphic novels created in collaboration with the Louvre. In the future, the Louvre is explored as an archaeological ruin within a frozen Europe. Talking animals with smarts are part of the expedition.
Whimisical, slightly askew view as the explorers try to make sense of the artifacts. Some of the subplots are soapy, but willing to go further than other works. Must read for history and archaeology people. The art is a fine mix of cartooning and serious watercolor. 7.9
5/4
film: Gone Baby Gone [2007]
A private investigator (Casey Affleck) works on the case of a missing girl in Boston.
Too much narration, but otherwise solid, with vivid characters and a real feel of honesty. Both warm and cruel. At times director Ben Affleck plays with focus too much, but he does maintain great tone throughout. Some sequences are fantastic. All of the performances are superb - Casey Affleck as the baby-faced P.I. with an old soul, Amy Ryan as the missing girl's mother...too many to list. 8
5/16
film: The Chronicles of Narnia: Prince Caspian [2008]
Prince Caspian (Ben Barnes) calls upon the Pevensie children (Georgie Henley, Skandar Keynes, Willaim Moseley, Anna Popplewell) to save Narnia.
Needs more breathing space and wonder, although it does pick up in the second half. In some parts it's better than the C.S. Lewis novel, like the willingness to present problems these kids would have after leaving Narnia. But, while it does touch upon themes more resonant than the average children's film does, those efforts end up as afterthoughts, brushed aside when they could be fully explored. Even with the 2 1/2 hour running time, some judicious editing and risk-taking could have fulfilled this film's true potential. It is one of the most violent PG-rated films I've ever seen. Most of the action is great, well-directed, although one or two things are ridiculous (the ramp!) The dialogue is somewhat off -maybe due to direction?- but faithful to the novel. It is a very hard book to film. The CGI is alright but slightly off as well, though the rest of the production is gorgeous. 7.9
5/17
film: Strangers on a Train [1951]
When tennis player Guy Haines (Farley Granger, who's from San Jose! awesome!) meets the creepy socialite Bruno Anthony (Robert Walker), he gets pulled into a dangerous game of swapping murders.
Tense, straight to the point, with great psychological touches in the script and by director Alfred Hitchcock. I have some nitpicks, but it's an otherwise engrossing film. The female characters are refreshingly intelligent, and the movie has some very interesting things to say about the appeal of murder. 8.2
5/20
film: Inside Man [2006]
A seemingly random bank robbery is more complicated than it appears.
Elegant, sometimes slow but always smart. Truthfully weaves in themes of ethnicity and place. Director Spike Lee knows how to use his stars - Denzel Washington, Clive Owen, and Jodie Foster, among others- to great effect. (Although, as much as I like Chiwetel Ejiofor, he was trying a bit too hard with his American accent.) Fantastically character-driven plot. 8
5/27
film: The Philadelphia Story [1940]
Absorbing. 8.2
5/28
novel: The Invisible Man, by H.G. Wells [1897]
There's an invisible man, and he ain't exactly nice.
Exciting. I especially liked how, in the beginning, you only learned about the character from other people. There's a bit much exposition packed in towards the end, but for the characters and situation it makes sense.
6/1
webcomic trade paperback: Megatokyo Vol 5, by Fred Gallagher
Still addictive and fun.
6/3
film: Infernal Affairs (Mou gaan dou) [2002]
Mob places a mole in the police, while police place a mole in the mob.
The basis for The Departed, except with Cantonese instead of Boston accents. (lol random question how would Cantonese sound like in a Boston accent?)
Strong plot and great use of parallels and heaven/hell theme, the latter being something very distinct when compared to the Scorsese remake. Some slow parts, but the overall movie is short and taut. The actors (with Andy Lau and Tony Leung Chiu Wai as the moles) give real personality to the characters in the spare script. 8.3
6/4
novel: Kamikaze Girls [Viz edition 2008]
Fantastic coming-of-age story about nonconformists in rural Japan. I posted a lot about it here. a favorite.
6/5
novel: The Boy Detective Fails, by Joe Meno [2006]
Billy Argo and his sister Caroline were kid detectives who solved a ton of crimes in their town, like a younger Hardy Boys or Scooby gang. But, they grow up, Billy goes to college, and eventually the younger sister kills herself. Billy cannot accept this and, after spending ten years in a mental institution, wants to find out why she died. But he also has to try and function as an adult in the novel's world of suburbs and supervillains. And there seems to be a growing number of extraordinary crimes occurring...
Good, but ultimately disappointing when the balance between sweet soulfulness and annoying preciousness tips. I explain here.
6/7
film: Sweeney Todd: The Demon Barber of Fleet Street [2007]
Barber seeks revenge upon those who wronged him. Based on the Sondheim musical.
Dark and imaginative, with a fun Grand Guignol touch from director Tim Burton, who really knows how to pull off gothy musicals. His direction is appropriately confined. Somewhat slow in the beginning, but solid overall. 8.2
6/10
film: Gun Chung (Eye in the Sky) [2007]
Excellent propoganda piece for the Hong Kong police and the use of surveillance. All characterization is done in context of the plot, no scene wasted. Winning performances from the cast, especially Simon Yam as the friendly but committed Sergeant Wong, Tony Leung Ka Fai as the charismatic gangster, and breakout star Kate Tsui as the adorable but competent young officer. Drifts somewhat in the middle, but manages to make surveillance exciting. Shaky-cam is sparingly used with real purpose here, and the rest of the cinematography is clean and effective. Plot ends tied up bit too tidy in retrospect, but I was too involved to care. 8.2, a favorite.
6/13
novel: Iron Council, by China Miéville [2004]
A party treks across the continent, braving dangers to meet a great man. Years before, many more people traveled and toiled, working on and alongside a new railroad. Years after the railroad, New Crobuzon faces oncoming civil war.
The first 55 pages are boring. The events in them are important, and some passages are interesting, but the characters and even the prose edges sadly near a parody of Miéville's previous work. And then he returns to New Crobuzon. Somehow, within the space of one or two pages, the old magic of his writing returns. One gets swept up in the stirrings of secret revolution. All the disparate storylines make sense later on, and after twists that seem not surprising come the real shockers. The main characters, Cutter and Ori, are nowhere near as complex nor compelling as any of Miéville's previous leads - Saul in King Rat, Isaac in Perdido Street Station, Bellis in The Scar. Ori, the street revolutionary, is slightly more interesting than Cutter, the normal and slightly whiny bookseller who associates with much more interesting people. The most amazing part of this novel, the middle "exigesis," also features the most vivid main character, the traveler Judah Low. This section is dazzling, an engaging tale of life on the frontier that makes me wonder whether or not British author Miéville intended this novel to slightly parallel America, past and present. Probably not. But if not, it speaks to the strength of his themes that a reader could make this comparison. It's also interesting how, knowing Miéville's Socialist politics, he's willing to see through the plausible positive and negative effects of proletariat revolution in the various plots. Though Iron Council lacks the consistent quality of writing and number of distinctive characters) as The Scar, it is more satisfying and much more entertaining. 8.1
6/18
film: Iron Man [2008, seen in theaters]
Fun, snappy, solid blockbuster. 7.9
also, I'm currently addicted to this mashup: San Francisco DJ Amplive adds some Bay Area rap flair to the indie electro glam rock of MGMT.
Amplive vs. MGMT - Of Moons Birds and Monsters (edit feat. mistah fab). It's crazy and sci-fi-ish and cool.
Ratings are out of 10, with 10.0 being the highest rating. If the work has become a favorite of mine, I'll put "favorite" after the rating.
I’m not a rough critic. Here are my general guidelines:
6 - Had some promise, has some interesting parts, but don't spend money on it.
7 - Alright, not really deep but not a complete waste of time.
8 - Some important themes well-executed. Enlightening and entertaining.
9 - Classic.
10 - perfect. I don't think I've ever given this rating.
Some don’t have ratings and/or reviews, because I was too busy or unable to write a review in my notebooks right away. I only count movies and books I've finished the whole way through. I've consumed more stuff, good and bad, but it's only fair to review things whole.
Some of the reviews are copy/pasted and expanded from reviews on a movies app on Facebook.
After the rating, I might put "a favorite." That means what it means, even if the rating itself is relatively low. I'm weird.
With so many reviews, I’ll end up overusing certain terms and phrases. My prose also gets strained at points. You are warned.
12/22/2007
novel: Perdido Street Station, by China Miéville [2001]
In the festering metropolis of New Crobuzon, the renegade scientist Isaac dan der Grimnebulin takes upon a job that will tear his world apart and bring him closer to the power of crisis.
This is thick fantastic fiction, invention bursting at every turn, unfolding in ways alternately dazzling and unabashedly ugly. Some have called this work the seminal novel of the "New Weird" genre, although that term has been somewhat abandoned by the authors who formed it. It's got a Victorian fascination with the city, a genre-defying amalgation of steampunk and body horror and social politics and twisted fantasy and fable and revolution and morality play. Along with Miéville's creativity of concepts and prose, he has also remembered to fashion vibrant, complex characters, alien as some of their mindsets or biologies might be. There are words he overuses and certain scenes that could have been different or handled differently. (honestly, I can't remember which specific scenes, but I wrote most of this review right after reading the book, so trust that.) But overall, Perdido Street Station is a wonderfully realized work, a multilayered feast for the mind and mind's eye, captivating as the beating wings of one of its monsters. 8.4
12/24/2008
film: Ikiru (To Live) [1952]
Kenji Watanabe(Takashi Shimura) is a city bureaucrat in post-war Japan, unstimulated by life and misunderstood by his son and daughter-in-law. And then he finds out he has six months to live.
This film goes beyond the usual "terminal disease brings enlightenment" plot, willing to engage the pitfalls and unexpected epiphanies in the quest for a meaningful life. Akira Kurosawa's direction is taut and much more personable here than in his more famous historical epics. Yet his artistic eye remains, the camera exploring interesting facets of characters and the surrounding environment. Some of the actions and gestures may seem strange to modern-minded audiences and/or those unacquainted with Japanese culture. The sudden change in story structure during the middle may be jarring. But this is a truly life-affirming work, with great performances, and the best use of "Happy Birthday" I've ever seen in cinema. 8.8, a favorite
12/27/2007
film: I am Legend [2007, seen in theater]
Not a classic or anything, but enjoyable.
12/28/2007
short story compilation: Shadows of Death: Terrifying Tales by H.P. Lovecraft [collection - 2005, stories - early-mid 20th century]
Includes: "The Shadow Out of Time," "Festival," "Celephais," "The Tomb," "The Shunned House," "Polaris," "The Dream Quest of Kadath," and more.
Yes, H.P. Lovecraft's writing has obvious faults. He is openly racist against any person of non-Anglo-Saxon origin (he was reportedly horrified to find out that one of his ancestors was Welsh). He gets lost in sentimentaliy and nostalgia for a pastoral England and a lost New England that are more or less products of historical fantasy. His prose runs deep purple, overstylized and sometimes laughable. Yet, despite those faults, his stories are works of pulpy beauty and madness, with boundless imagination, horror teeming out of concepts that at the time were not called sci-fi. Many of his stories, especially those dealing with dreams or unseen fears, are brilliant. His prose style often fits the mental state of many of his narrators. Addictive, his worlds are, deep and detailed.
Also included are his "Early Tales." These are, at best, serviceable, and at worst, are blatant displays of his most terrible qualities. But it is interesting to see how his ideas and writing have developed. Lovecraft's writing is proof of how content and imagination can overcome all other weaknesses in writing. Just wait till you meet his cat generals.
This volume itself has one major fault. The end story, "The Dream Quest of Kadath," incorporates characters and elements of various stories in the collection. However, the short story "Pickman's model" also plays an important part in the piece. It is not included here. If problems with legal rights prevented its appearance, that's understandable. If not, though, then that's an unfortunate oversight. 8
1/4/2008
play: King Lear, by William Shakespeare
I didn't write a review for this. It's good, especially if you attribute the many coincidences to fate. Edmund is a cool villain. yeah.
1/7
graphic novel: Gordon Yamamoto and the King of the Geeks, by Gene Yang
Enjoyable, offbeat high school tale in which nose-picking plays a major role. 7.9
graphic novel: The Plain Janes, by Cecil Castellucci and Jim Rugg
Anarchic, fun spirit in this tale of a girl art-gang. 8.1
graphic novel: Whiteout: Vol 1, by Greg Rucka and Steve Lieber
US Marshal Carrie Stetko must maintain law in the unforgiving Antarctic.
Solid story, rough and believable characters, and great black-and-white art. Soon to be a movie starring Kate Beckinsdale. 8.1
1/8
film: Ocean's Thirteen [2007]
An all-star cast plays a bunch of con men about to pull an elaborate casino heist in honor of a friend.
The mechanics of the set-up and operation are fun to follow, even though some things were confusing - especially for someone like me who hasn't seen the first two movies. It's frothy and slick and entertaining, with great momentum. And the cinematography and production feature a beautiful use of warm reds and yellows contrasted with cool blues and greens. 7.7
1/15
film: The Wind that Shakes the Barley [2006]
In early 20th century Ireland, two brothers fight alongside and against each other during the nation's struggle for independence from Britain.
Well-shot and well-acted. Cillian Murphy and Pádraic Delaney do good work as the two brothers, and Orla Fitzgerald also give a strong supporting performance as love interest/fellow Republican Sinead. Some scenes are a bit clipped, and it can get quite talky. The film is strongly one-sided. The British forces are uniformly presented as forces of cruelty, except for one sympathetic half-Irish soldier. The film sometimes follows, sometimes diverges from the usual "brother vs. brother" tropes. Solid film, will grip you by the end. 8.2
1/16
film: Ran [1985]
"King Lear" set amongst warrior clans in Japan, with the fierce Tatsuya Nakadai playing the King Lear figure.
Coldly aesthetic in the beginning, with very wide shots both epic and slightly alienating. However, after the brilliant castle siege scene, the story gains momentum and becomes truly thrilling to watch. It's a long time getting there, though. The production itself is flawless, rich and color-coded between the three feuding brothers. Admirable, if stilted at times. The final image is powerful and heartbreaking. And Lady Kaede (Mieko Harada) is a remarkably fascinating and twisted villian. 8.4
1/18
film: The Petrified Forest [1936]
A wandering writer (Leslie Howard) meets a nice girl (Bette Davis) at the same diner where a gangster on the run (Humphrey Bogart) is about to take refuge.
Talks too much and aims too lofty, but satisfying overall. Leslie Howard gives the appropriate world-worn, intellectual, likable (if slightly arrogant), romantic air required for the main character to work. Bette Davis is young, smart, and lovable. The chemistry just...sparkles, yes, sparkles, between Howard and Davis. This was Humphrey Bogart's star-making role, and it's easy to see why. He brims with magnetic menance here. The direction is alright, the lighting a moody pre-noir, though the backgrounds and sets look like they were brought from the original stage production. Good, short running time. 7.9
1/12
film: Cloverfield [2008, seen in theater]
Rob and Beth are all "it's complicated," and Rob's having this party because he's leaving for a job in Japan, and Beth actually, like, brings her boyfriend to the thing, and oh there are Rob's other friends - I think one of them's his brother?- and there's one slacker dude Hud that a lot of people found annoying but I found funny, and Hud holds the camera to tape the party and he likes this cool girl Marlena (she was Lindsay Lohan's cool sarcastic friend in Mean Girls, remember?), and then...the monsters crash in New York. And they're all like, "Like we care NOM NOM." So, Hud tapes everything while there's all disaster and stuff and Rob needs to see if Beth's alright. His friends are all "ugh" but go with him anyway. Hud's camerawork gave me a headache, but it's somewhat realistic, except during that one roof-crossing scene where I'm all, yeah right. The monster and the tiny spiders were scary but kind of cool too. You can either like the characters, or just feel this crazy situation they're in, or find them realistically annoying pretty young people or whatever. Definitely an experience for like, the movie theater, or in a dark room with a big screen TV and tons of friends. I liked it. 8
If you've seen the movie, don't miss: this hint in the last scene.
Also watch this parody: Watching Cloverfield.
1/25
novel: Oil!, by Upton Sinclair [1926]
Sweeping epic of California oil and its influence in the world. Impressive, idealistic, yet reined in by pointed and witty observations. The saga of Bunny Ross and his father J. Arnold Ross does turn into propaganda for Sinclair's brand of Socialism, but it is an engaging story nonetheless. Manages to capture many issues and aspects of American history and culture through an array of distinct characters. Does make overarching statements and assumptions about power and one particularly offensive comment about "the people of the Congo." However, this is still a grand saga of California, detailed and honest, unafraid to handle the tangled ties of family and friends, affection and corruption. The characters and some of the story were the basis for the film There Will Be Blood, although names were changed. 8.2
film: Zodiac [2007]
This film belongs to the night, to the hypnotic, noir world of lampposts spread too wide and moonlight too faint and lonely people in lonely cars and darkness thick enough to wade through. Based on the true story of the search for the notorious Zodiac killer, whose seemingly random murders kept the Bay Area under a reign of terror during the 1960's and '70's. It's a film as odd and obsessive and sometimes as confusing as its characters. But it gets the viewer involved anyway. The performances are all brilliant, sharp and unselfish ensemble work. Not perfect, but still a singular film, full of personality while sticking straight to the story. And bonus points from me for presenting San Francisco in such a beautiful, fresh, eerie light. This film is an excellent example of modern film noir, with Truth as the impassive, dangerous femme fatale. 8.3
2/1
film: The Fallen Idol [1948]
The young son of the French ambassador to England becomes entangled in the adult world of secrets.
Piercing film about children, adults and the hurtful power of games and lies. Directed by Carol Reed and written for the screen by Graham Greene (based on one of his short stories), this is a much more engaging film than their more famous work, The Third Man. The acting is warm and realistic, and the production is gorgeous, with the main embassy setting an important part of the plot. It really pulls at the affections. Alternately beautiful and quietly brutal. The pace becomes somewhat uneven during the murder investigation scenes, but that's not much of a problem. 8.5, a favorite.
2/4
novel: Stardust, by Neil Gaiman
I liked it.
2/12
written version of oral tradition: The Tale of the Heike (Heike monogatari), translated by Helen McCullogh [Kakuichi version, 1371]
Extensive epic set during and after the war between the Taira clan (the Heike) and the Minamoto clan (the Genji). Particularly poignant in the overall sense of decay and loss.
2/27
comic book trade paperback: Runaways, volumes 5,6,7 by Brian K. Vaughan
Fun to follow.
3/12
novel: The Scar, by China Miéville [2002]
Translator and sudden fugitive Bellis Coldwine happens upon the pirate sea city of Armada. She becomes caught in various agendas of bloodshed.
Vivid characters and descriptions, depth of imagination and plot indicative of Miéville, etc. Not quite as compelling as his other works, though. Parts drift like the sea setting, sending momentum and reader interest slightly adrift. Something about the pace starts to affect the prose. The scar metaphor is strong but written much too heavy-handed. Good overall, but could have been better, though I'm not sure exactly how. 8
3/22
film: Pride and Prejudice [2005]
Another adaptation of the Jane Austen novel. Gorgeous production and fast pace gloss over any faults. Smart and soulful. 8
3/25
film: Enchanted [2007]
A fairy-tale princess suddenly finds herself on the mean streets of New York City.
Imaginative and sweet, shows that commercial interests and sincerity aren't always mutually exclusive. Subtly subversive but still Disney-safe. Amy Adams shines as Princess Giselle. While I usually don't like Patrick Dempsey, he was perfect as the divorced New York lawyer whose young daughter pressures him to let Giselle live with them for a while. The infectious songs are great in context, though somewhat bland outside of the movie. The second half drags slightly, but the film's winning overall. 7.9
3/26
film: Be Kind Rewind [2008, seen in theater]
A video store clerk (Mos Def) and his friend (Jack Black) make video parodies of movies in hopes of saving their neighborhood video store.
Sweet, fun, and funny. Great movie for the Millenial generation, mixing mashup sensibility with affection for both community and good ol' brick-and-mortar. Michel Gondry's direction reliably bursts with creativity. Sometimes it's too sentimental, and some scenes wander into random tangents. But that's part of the scattershot charm of this film. Don't watch it alone- it's better with a bunch of people laughing and cheering around you. 8, a favorite
4/13
graphic novel: A Treasury of Victorian Murder: The Saga of the Bloody Benders, by Rick Geary [2007]
Non-fiction tale of grisly murders on the American frontier.
The narration strikes the right tone, begging you to read it aloud. Geary also knows the use of an image, and excerises great control in dispensing information. Compelling and absolutely readable. Pulp nonfiction done with intelligence and droll wit. I am addicted to this series. 7.9
comic book trade paperback: DMZ Vol 3: Public Works, by Brian Wood and Riccardo Burchielli [2007]
Reporter Matty Roth goes even deeper undercover to find out the truth behind a security firm operating in Manhattan's Demilitarized Zone.
The situation and scenes may edge towards boringly obvious parallels to contemporary issues. But the main plot itself is still incredibly interesting, and it's not afraid to take the harder storytelling parth. The art is appropriately gritty, though some fanservice shots actually look kind of ugly. Vol 3 is more of an intermediate arc than a the previous 2 standout volumes. But I can't wait to see what happens next. 7.8
4/15
film: The 39 Steps [1935]
The most famous of Hitchcock's British films, though I liked The Lady Vanishes much more. Flawed, but still many great moments. The Scottish moors provide excellent atmosphere. Robert Donnat, as the innocent man suddenly caught up in spy intrigue, is an appealing lead, even if his character's characterization is written somewhat uneven. A few parts are too convenient. While the thrilling scenes are thrilling, others scenes seem more rushed than judiciously short. 7.4
4/20
film: Blackboard Jungle [1955]
An idealistic new English teacher (Glenn Ford) is determined to change things around in a violent inner-city school.
You may have seen this formula done many times, but this is the original. Much more fearless in dealing with issues of race, gender relations, education, and socioeconomic status than most later variations on the theme. Melodrama tempered with matter-of-fact intelligence. Well-shot and acted and directed. Vic Morrow is a force to be reckoned with as the simmering school bully, and Sidney Poiter became a star in his role as the intelligent, no-nonsense bad boy the other students look up to. 8
4/24
film: Le Samouraï [1967]
Parisian assassin Jef Costello (Alain Delon) never gets caught. But that can change.
Tense, smart thriller. Discreetly hides its heart under sleek surfaces, and expertly uses silence, action, and style. Director Jean-Pierre Melville said that he wanted to make a black-and-white film in color, so the production employs elegant, slightly out-of-date fashion and a very cool palette of grays and blues. Alain Delon is mesmerizing. The cinematography so well-composed that even when hiding the movie screen halfway under a web browser, I could still read the scene perfectly. Just awesome pure cinema. 8, a favorite.
4/29
film: Cape Fear [1962]
A lawyer (Gregory Peck) and his family are terrorized by a vengeful ex-con (Robert Mitchum).
Fantastic use of tension, and great performances. Even my brother got swept into watching it to the end. 7.9
graphic novel: Glacial Period, by Nicolas de Crecy [2005]
The first in a series of graphic novels created in collaboration with the Louvre. In the future, the Louvre is explored as an archaeological ruin within a frozen Europe. Talking animals with smarts are part of the expedition.
Whimisical, slightly askew view as the explorers try to make sense of the artifacts. Some of the subplots are soapy, but willing to go further than other works. Must read for history and archaeology people. The art is a fine mix of cartooning and serious watercolor. 7.9
5/4
film: Gone Baby Gone [2007]
A private investigator (Casey Affleck) works on the case of a missing girl in Boston.
Too much narration, but otherwise solid, with vivid characters and a real feel of honesty. Both warm and cruel. At times director Ben Affleck plays with focus too much, but he does maintain great tone throughout. Some sequences are fantastic. All of the performances are superb - Casey Affleck as the baby-faced P.I. with an old soul, Amy Ryan as the missing girl's mother...too many to list. 8
5/16
film: The Chronicles of Narnia: Prince Caspian [2008]
Prince Caspian (Ben Barnes) calls upon the Pevensie children (Georgie Henley, Skandar Keynes, Willaim Moseley, Anna Popplewell) to save Narnia.
Needs more breathing space and wonder, although it does pick up in the second half. In some parts it's better than the C.S. Lewis novel, like the willingness to present problems these kids would have after leaving Narnia. But, while it does touch upon themes more resonant than the average children's film does, those efforts end up as afterthoughts, brushed aside when they could be fully explored. Even with the 2 1/2 hour running time, some judicious editing and risk-taking could have fulfilled this film's true potential. It is one of the most violent PG-rated films I've ever seen. Most of the action is great, well-directed, although one or two things are ridiculous (the ramp!) The dialogue is somewhat off -maybe due to direction?- but faithful to the novel. It is a very hard book to film. The CGI is alright but slightly off as well, though the rest of the production is gorgeous. 7.9
5/17
film: Strangers on a Train [1951]
When tennis player Guy Haines (Farley Granger, who's from San Jose! awesome!) meets the creepy socialite Bruno Anthony (Robert Walker), he gets pulled into a dangerous game of swapping murders.
Tense, straight to the point, with great psychological touches in the script and by director Alfred Hitchcock. I have some nitpicks, but it's an otherwise engrossing film. The female characters are refreshingly intelligent, and the movie has some very interesting things to say about the appeal of murder. 8.2
5/20
film: Inside Man [2006]
A seemingly random bank robbery is more complicated than it appears.
Elegant, sometimes slow but always smart. Truthfully weaves in themes of ethnicity and place. Director Spike Lee knows how to use his stars - Denzel Washington, Clive Owen, and Jodie Foster, among others- to great effect. (Although, as much as I like Chiwetel Ejiofor, he was trying a bit too hard with his American accent.) Fantastically character-driven plot. 8
5/27
film: The Philadelphia Story [1940]
Absorbing. 8.2
5/28
novel: The Invisible Man, by H.G. Wells [1897]
There's an invisible man, and he ain't exactly nice.
Exciting. I especially liked how, in the beginning, you only learned about the character from other people. There's a bit much exposition packed in towards the end, but for the characters and situation it makes sense.
6/1
webcomic trade paperback: Megatokyo Vol 5, by Fred Gallagher
Still addictive and fun.
6/3
film: Infernal Affairs (Mou gaan dou) [2002]
Mob places a mole in the police, while police place a mole in the mob.
The basis for The Departed, except with Cantonese instead of Boston accents. (lol random question how would Cantonese sound like in a Boston accent?)
Strong plot and great use of parallels and heaven/hell theme, the latter being something very distinct when compared to the Scorsese remake. Some slow parts, but the overall movie is short and taut. The actors (with Andy Lau and Tony Leung Chiu Wai as the moles) give real personality to the characters in the spare script. 8.3
6/4
novel: Kamikaze Girls [Viz edition 2008]
Fantastic coming-of-age story about nonconformists in rural Japan. I posted a lot about it here. a favorite.
6/5
novel: The Boy Detective Fails, by Joe Meno [2006]
Billy Argo and his sister Caroline were kid detectives who solved a ton of crimes in their town, like a younger Hardy Boys or Scooby gang. But, they grow up, Billy goes to college, and eventually the younger sister kills herself. Billy cannot accept this and, after spending ten years in a mental institution, wants to find out why she died. But he also has to try and function as an adult in the novel's world of suburbs and supervillains. And there seems to be a growing number of extraordinary crimes occurring...
Good, but ultimately disappointing when the balance between sweet soulfulness and annoying preciousness tips. I explain here.
6/7
film: Sweeney Todd: The Demon Barber of Fleet Street [2007]
Barber seeks revenge upon those who wronged him. Based on the Sondheim musical.
Dark and imaginative, with a fun Grand Guignol touch from director Tim Burton, who really knows how to pull off gothy musicals. His direction is appropriately confined. Somewhat slow in the beginning, but solid overall. 8.2
6/10
film: Gun Chung (Eye in the Sky) [2007]
Excellent propoganda piece for the Hong Kong police and the use of surveillance. All characterization is done in context of the plot, no scene wasted. Winning performances from the cast, especially Simon Yam as the friendly but committed Sergeant Wong, Tony Leung Ka Fai as the charismatic gangster, and breakout star Kate Tsui as the adorable but competent young officer. Drifts somewhat in the middle, but manages to make surveillance exciting. Shaky-cam is sparingly used with real purpose here, and the rest of the cinematography is clean and effective. Plot ends tied up bit too tidy in retrospect, but I was too involved to care. 8.2, a favorite.
6/13
novel: Iron Council, by China Miéville [2004]
A party treks across the continent, braving dangers to meet a great man. Years before, many more people traveled and toiled, working on and alongside a new railroad. Years after the railroad, New Crobuzon faces oncoming civil war.
The first 55 pages are boring. The events in them are important, and some passages are interesting, but the characters and even the prose edges sadly near a parody of Miéville's previous work. And then he returns to New Crobuzon. Somehow, within the space of one or two pages, the old magic of his writing returns. One gets swept up in the stirrings of secret revolution. All the disparate storylines make sense later on, and after twists that seem not surprising come the real shockers. The main characters, Cutter and Ori, are nowhere near as complex nor compelling as any of Miéville's previous leads - Saul in King Rat, Isaac in Perdido Street Station, Bellis in The Scar. Ori, the street revolutionary, is slightly more interesting than Cutter, the normal and slightly whiny bookseller who associates with much more interesting people. The most amazing part of this novel, the middle "exigesis," also features the most vivid main character, the traveler Judah Low. This section is dazzling, an engaging tale of life on the frontier that makes me wonder whether or not British author Miéville intended this novel to slightly parallel America, past and present. Probably not. But if not, it speaks to the strength of his themes that a reader could make this comparison. It's also interesting how, knowing Miéville's Socialist politics, he's willing to see through the plausible positive and negative effects of proletariat revolution in the various plots. Though Iron Council lacks the consistent quality of writing and number of distinctive characters) as The Scar, it is more satisfying and much more entertaining. 8.1
6/18
film: Iron Man [2008, seen in theaters]
Fun, snappy, solid blockbuster. 7.9
also, I'm currently addicted to this mashup: San Francisco DJ Amplive adds some Bay Area rap flair to the indie electro glam rock of MGMT.
Amplive vs. MGMT - Of Moons Birds and Monsters (edit feat. mistah fab). It's crazy and sci-fi-ish and cool.
