I had an amazing moment watching Ridley Scott’s Matchstick Men. When the movie’s twist was revealed, I immediately felt cheated. I’ve seen a few con-artist films in my day, and this one – which had seemed so promising and interesting and different – was suddenly just the same as David Mamet’s, particularly House of Games.
How about a magic trick? I shall transform Christopher Nolan’s 144-minute The Dark Knight into a significantly better movie by trimming eight minutes from it.
When the seventh episode of Hulu’s Castle Rock – titled “The Queen” – immediately felt very familiar, we shouldn’t have been too surprised that it drew not from Stephen King but from a famously excellent episode of another TV show whose DNA had been plainly evident in this one. And then from a great movie.
In Master and Commander: The Far Side of the World, director Peter Weir establishes his tremendous skill almost immediately. The audience is dropped on board the Surprise as a mysterious vessel is lurking in the fog, perhaps nothing but maybe an enemy. When the phantom ship attacks, the audience is thrust into battle without the exposition that is de rigueur in Hollywood fare. You might not be able to follow the specifics of what’s happening, but it doesn’t take a genius to figure out that the Surprise is getting the shit pounded out of her.
Rolling Stone’s “Rock and Roll Daily” has started a series on double albums that can be (and should have been) pared down to single discs. And not just one 80-minute CD; the idea is to hack the bloated monster down to an LP.
Most reviews of the Oscar-nominated animated French movie The Triplets of Belleville suggest the film is a wonderfully wacky laugh riot. I liked it, but its strength for me was the way it balanced an inspired visual stylization with a dark human reality: the way people sleepwalk through their lives with single-minded purpose but little joy.
Alfonso Cuarón’s Harry Potter and the Prisoner of Azkaban won me over quickly and didn’t loose its grip. Unfortunately, I fear it will become the series’ The Empire Strikes Back – the pinnacle that shows the bankruptcy of the rest of the entries. And for that, we should thank the good executives at Warner Brothers.
Social Distortion’s Sex, Love, and Rock ‘n’ Roll
The irony of the success of Michael Lewis’ wonderful Moneyball is that it should bring the Oakland A’s back to earth. The justice is that Oakland’s demise doesn’t appear imminent. This is baseball, after all, and there’s no reason to change something just because it’s never worked very well.
In Slate.com, Hua Hsu concisely articulates my boredom with Sonic Youth’s highly regarded (and moronically titled) new record, Rather Ripped.
