How does Bill Simmons always beat me to the punch? It's a recurring theme over the last five years. I'll be half done with a new article, surf over to espn.com, and see that Simmons has hijacked my premise. This time around, the subject was the incomparable Eddie Murphy. I'm sure we both got the idea after Murphy's notable turn in last months Tower Heist.
I've read "The Sports Guy" since he became popular when I was in college. One could argue that my writing style has been influenced by Simmons to a degree, but it's honestly more a case of bad timing than anything. I've always written with a comedic angle, with no shortage of sarcasm. A college paper I wrote on the inimitable "Snickers" commercial featuring a football player who gets knocked out and thinks he's Batman drew raves from my professor, who informed me it was the best student paper she'd read all year. I think she maybe have been trying to sleep with me at the time, but more on that at a later date.
Simmons' favorite sport is basketball. So is mine. He loves 80s movies. So do I. Basically, he's Jordan to my Kobe, slightly better with a decade head start. It's tough to be second when high profile competition is so similar. Just ask the makers of Wyatt Earp, Volcano, The Thin Red Line, EdTV, and Infamous to name a few. All opened within months of films covering the same general subject matter (Tombstone, Dante's Peak, Saving Private Ryan, The Truman Show, Capote, respectively) and suffered commercially as a result. Only Armageddon bucked the odds and took down its earlier competition (Deep Impact). And so, if a meteor starts hurtling towards Earth before the new year and you only have time to read one Eddie Murphy career retrospective, read mine. To Simmons, you are but a grain of sand on Pebble Beach, one in a million readers. To me, you are an entire piece of pizza from a regular, eight-slice box. If that strange analogy is right up your alley, stick around. Now, on to the reason you're reading.
Murphy has starred in his share of stinkers over the last two decades, but his resume isn't quite the mess some critics have described. It is fair to say that no comedic actor has a wider disparity between his great movies and his shitty ones, which I'll avoid discussing. After all, when we look back at Robert De Niro's career are we gonna focus on the stuff made post-2000? Of course not. Some actors get a pass for their less than exceptional efforts (Anthony Hopkins, Samuel L. Jackson, Bruce Willis), while others don't (Ben Affleck, Nicolas Cage, Kevin Costner). There's little rhyme or reason, but it's clear that Murphy falls into the second group. That's a shame, because his best material compares favorably with almost anyone of his generation. Here's a look back at some of his best films, counting in reverse order from ten to one.
Note: I discounted Delirious and Raw, two genius Stand-up acts that arguably showcase Murphy at his funniest, although neither is a traditional film.
Sequelitis
10. Beverly Hills Cop 2 (1987): A close call for the cut off spot, narrowly edging the underrated thriller Metro (1997) and Boomerang (1992), one of the most inappropriate, offensive romantic-comedies ever. I've rarely seen a film combine intentional and unintentional comedy to such effect. Anyway, Murphy's first sequel was a hit-and-miss action-comedy that was trashed by critics, but a huge hit with audiences. He reprised his most famous pre-Shrek role as detective Axel Foley, hunting down a team of ruthless thieves called the Alphabet Killers. Cop 2 is a far cry from the original, but still much funnier than 1994's third entry into the franchise. Worth your time if only for Murphy's Johnny Wishbone routine, when he pretends to be a psychic extraordinaire and makes asses of the Beverly Hills police chief.
Multiple Roles
9. Bowfinger (1999): By this point, seeing Murphy playing multiple characters was nothing new. He's used the approach several times, both to good effect (the barbershop scene from Coming to America, the dinner table scenes in The Nutty Professor) and bad (Norbit, not that I paid to see that or anything). But Bowfinger was arguably the first time he wasn't merely going for a gimmick. Here he played brothers, each of whom had large roles and wildly opposite personalities (think Cage in Adaptation). The less memorable of the two was Kit Ramsey, an arrogant, paranoid movie star who resembled Murphy in real life. But his real achievement was Jiff, a shy, socially-awkward nobody who's cast as the lead in a movie that's supposed to be starring Kit. Steve Martin, in the title role, is the director who casts Jiff without realizing the two are actually siblings. Murphy went way beyond nerdy glasses and a funny haircut in imbuing the good-natured Jiff with subdued enthusiasm. He's ecstatic just to be getting people coffee on a movie set and the performance felt as real as anything Murphy's done before or since. Ultimately it ranks only nine, because the movie as a whole isn't quite as funny as it probably sounded at pitch meetings.
(Seriously Simmons, how did you beat me to an Eddie Murphy retrospective? How dammit?)
The Comebacks
8. Tower Heist (2011): It's way too early to put Murphy's latest comedy in proper perspective, having only seen it once. A fair decision requires multiple viewings, which won't happen until it reaches HBO or Starz some time next summer. I can say definitely that Tower Heist is Murphy's funniest performance and live-action film in 15 years. Its ranking will be determined by rewatchability, which all the following comedies have for sure. For a complete review of the film, see my previous blog entry.
(Note: I think it probably warranted a grade of "B+" rather than the "A-" I initially awarded it.)
7. The Nutty Professor (1996): A genuinely funny movie in which Murphy played seven different characters, most notably the sensitive, obese scientist Sherman Klump. When humiliated on a date at a comedy club by a then unknown Dave Chappelle, he ingests a potion and turns into a thin, libido-driven, alter ego Buddy Love. That simple premise provided ample opportunity for sight gags and goofy dialogue, with Murphy's engaging performance driving the film. The aforementioned dinner sequence, which featured Murphy in five roles at once, closes with a spectacular barrage of farts that leveled theater audiences across the country. Whether that says more about American humor is a topic for another time, but funny is funny. The films success led to an inferior, sporadically amusing sequel in 2000. Unfortunately, the original loses points for spawning a cringeworthy period for its star, who produced a plethora of junk aimed at 7-year-olds (two Doctor Dolittle's, The Haunted Mansion, Imagine That, and The Adventures of Pluto Nash followed). In the process, Murphy lost sight of his image and fans who had years earlier made him the biggest movie star alive.
"Hello Donkey."
6. Shrek (2001): A sharp and funny fairy tale as enjoyable for adults as their kids, the Shrek franchise may be the gift that keeps on giving for Murphy. Who knows how much money he earns every time it airs on tv or a copy is sold on dvd? His voice work as Donkey is as recognizable as any in animation, with the possible exception of co-star Mike Myers, who voiced the title character. I'd argue the film's impact has faded for reasons that have little to do with the finished product. In 2001, Shrek was all the rage and seeing the movie with my youngest brother Max (only ten at the time) ranks among my more memorable filmgoing experiences. But the in-joke humor that provided so many laughs on first viewing lose their luster over time, especially after Pixar began releasing annual blockbusters that duplicated the formula. And while hard to believe, the internet still wasn't the all-encompassing monster it is ten years later, when virtually anyone can figure out how to post a "YouTube" video highlighting the same self-referential style. Still, the original was ahead of its time and spawned one of the most successful franchises in history.
Getting Serious
5. Dreamgirls (2006): Important disclaimer: I am not a fan of movie musicals in general. I was horrified when Chicago took best picture in 2002, as it didn't rank among my top 20 films that year. I don't count The Producers among Mel Brooks' funniest outings, nor did I take much excitement from Moulin Rouge, Hairspray, or even The Sound of Music. But Dreamgirls was an exception, a rousing, incredibly well acted film that worked because as much effort was put into the story as the musical numbers. Or maybe I'm just a sucker for Beyonce. Murphy drew raves for his work as James "Thunder" Early, a desperate soul singer trying to hold on after his time has passed. He received his only Oscar nomination for the film and was considered the favorite before losing to Alan Arkin for Little Miss Sunshine.
Should Murphy have won? Not necessarily. He was very good, but probably no better than Jaime Foxx or Oscar winner Jennifer Hudson. Dreamgirls ended up being my 2nd favorite film of 2006 (behind The Departed), so how do I make sense of it barely making the top five here? Because it's not how I want to see Murphy. Comedians of a certain age almost always attempt to branch out as their audiences mature. But aside from a select view who transformed into primarily dramatic actors (Tom Hanks & Robin Williams), most comics are better staying in their comfort zone. Take Bill Murray as an example. He drew high praise for his surprisingly subtle work in Lost in Translation, earning a number of awards and a Best Actor nomination in 2003. Looking back, does it rank anywhere near your favorite Murray performances or films? He rode a wave of excitement that had a shelf-life. Give me the Murray who ad-libbed while battling gophers, bad bowling hairdos, and slimy green ghosts. Dreamgirls is excellent, but I'd rather revisit any of the next four movies.
The Landis Connection
4. Coming to America (1988): I went back and forth between the next two films, eventually giving Trading Places the slight nod, because it had a better premise. Director John Landis and Murphy struck box office gold twice in a Five-Year Span, with the latter becoming one of the most quoted comedies in cinema. High five yourself if you just belted out, "Just let your Soul Glo!" Murphy played Prince Akeem, heir to the throne of Zamunda, who travels to Queens, New York with his servant Semmi (Arsenio Hall) in hopes of finding his perfect bride. The central courtship was sweet, the film somewhat charming, but in unparalleled 80s fashion, it contained enough raunchy humor to earn an ironclad "R" rating. The passage of time has done little to hinder the film's effectiveness. At least once a month you're likely to hear me announce one of the following . . . "Wearing clothes must be a new experience for you," "When you think of garbage, think of Akeem," or "I tied my own shoes once. It is an overrated experience." One final thought; Akeem's forceful father was played by James Earl Jones, whose booming voice became a character in and of itself and is responsible for one of the funniest "Youtube" clips in existence for anyone who cherishes movies. I implore you to search "Coming to Alderaan," but would advise against doing so at work, as I nearly threw up laughing the first time I watched it. Thanks AJ.
3. Trading Places (1983): "Merry New Year!" With so many 80s movies being remade in recent years, I'm stunned they haven't tried to duplicate Landis' classic mistaken identity farce. The basic plot is timeless, as are themes of class separation and stereotyping (also prevalent in the director's best film, National Lampoon's Animal House) The film starred Dan Aykroyd as Louis Winthorpe III, an uptight, pampered snob working for millionaire commodities brokers Randolph and Mortimer Duke (the late Ralph Bellamy & Don Ameche) in Philadelphia. Murphy played a street hustler named Billy Ray Valentine with no prospects or connections. After falling on opposite ends of a debate regarding the impact of "nature vs nurture," the Dukes decided to test their theories (for a $1 wager) by stripping Winthorpe's life apart and giving his company position to Valentine. An appealing concept was splendidly executed, as Valentine adapts to a wealthy lifestyle and develops a conscience, while Winthorp becomes a raving lunatic whose only friend in the world is a hooker played by Jaime Lee Curtis. All six primary roles (including Denholm Elliott as the faithful butler Coleman) were perfectly cast, but it's Murphy who walked off with the movie despite receiving second billing. A first-rate screenplay provided some of his best material; upon being placed in a Whirlpool bath, "Hey, hey bubbles man. Say man, when I was growing up, if we wanted a Jacuzzi, we had to fart in the tub." The films satirical edge can be easily observed on "YouTube" by searching "Trading Places - Bacon, lettuce and tomato sandwich." It's a gem.
Inventing a Genre
2. 48 Hrs. (1982): "There's a new sheriff in town. And his name is Reggie Hammond." One could argue no comedian had a better debut performance than Murphy in the much imitated, though seldom surpassed 48 Hrs., which not only invented the modern action-comedy, but is often cited as the first "buddy-cop" movie as well. Many of the cliches that today make critics groan originated here, from an unwilling partnership, initial animosity, hard racism (including liberal use of the "N" word, which has thankfully subsided over time), mentorship, analogous needs for revenge, contrasting styles, and eventual respect, with one possibly saving the other's life by films end. Beverly Hills Cop, Lethal Weapon, Tango & Cash, Bad Boys, and Rush Hour are among those that duplicated the formula with varying success. Nick Nolte, in one his best roles, played Jack Cates, a tough-as-nails cop who enlists the help of convict Hammond (Murphy) after his partner is killed by a sadistic psychopath named Ganz. As played by James Remar (best known as Dexter Morgan's father Harry), Ganz ranks among the most ruthless, detestable movie villains of the 80s. Meanwhile, Nolte and Murphy displayed genuine chemistry as they traded insults and literally beat the shit out of each other in one of the grittier films from that era. It also contained the single best scene of Murphy's career. About 45 minutes in, short on leads and ideas, Hammond borrows Cates' police badge, announces "I don't like white people," and intimidates an entire bar full of rednecks who despise him. A classic screen moment in every sense of the word.
1. Beverly Hills Cop (1984): Finally, the film that cemented his movie stardom forever. Murphy's first turn as Axel Foley holds a permanent spot on my top ten favorite comedies list, even though it was truly an action-comedy (the best of the sub-genre). But where 48 Hrs. favored action, Cop found a better balance, allowing Murphy's comedic style to set the tone for the entire film. Few sounds in cinema are as recognizable or infectious as Eddie's boisterous laugh, heard in abundance here. In his third major feature, Murphy played a promising Detroit detective (Foley) who after his best friend is murdered leaves for Beverly Hills, CA to track his killers. It was the ultimate fish out of water tale, with street-wise Foley shaking up his posh new surroundings, and toughening a pair of local cops Rosewood (Judge Reinhold) and Taggart (John Ashton) in the process. Other cast members included Steven Berkoff as Victor Maitland, Lisa Eilbacher as Jenny Summers, and Ronny Cox as Lt. Bogomil, as well as funny cameos by then unknowns Paul Reiser, Damon Wayans, and most memorably Bronson Pinchot as Serge. The film represented a career high for most of the well chosen ensemble, as well as screenwriter Daniel Petrie Jr. (story credit also went to Danilo Bach), who received Oscar nominations for their work here. Cop also marked the biggest financial success for director Martin Brest, who'd go on to make the underrated Midnight Run and the Oscar winning Scent of a Woman.
For reasons I can't quite figure, the film doesn't share the enduring popularity of many 80s contemporaries, even though it holds up better than most. It spent a ridiculous 14 weeks atop the box-office chart and edged Ghostbusters as the most popular movie of 1984. In fact, Beverly Hills Cop ended up making more money domestically than every 80s blockbuster with the exception of E.T., a pair of Star Wars sequels, Batman, & Raiders of the Lost Ark. It was beloved by critics and audiences alike, and also spawned a kick-ass soundtrack including hits "The Heat is On," "Stir It Up," and its iconic theme song, "Axel F." The soundtrack eventually reached number one on the BillBoard top 200 chart in 1985.
Murphy has always been one of the great talkers in the movies. His dialogue here afforded him the opportunity to unleash several loquacious tirades. They were not only hilarious because they were observant, but because we couldn't picture anyone else pulling them off. Like his other best films, Cop earned an "R" rating for unmistakable violence and a multitude of appropriate cursing. It was not for the preteen crowd, despite dozens of memorable gags (the banana in the tail pipe) and conversations (Rosewood & Taggart on eating too much red meat, Foley delivering a phony message about acquiring herpes to a revolted country club host). Make no mistake, the film was not shy about representing a racist, elitist, and blatantly homophobic era, which come to think of it may be the primary reason it hasn't endured like so many of the decades more innocent entertainments. Could Beverly Hills Cop even be made today as presently constructed? Probably not, but no matter. It was the pinnacle of the fastest start by a comedian in history. Will Ferrell releasing Old School, Elf, & Anchorman in a 17-month period is the only notable comparison. In only four years, Murphy became the biggest star on Saturday Night Live, released three classic movies (each more successful than the previous), and gained an obscene number of fans in the process, at least one of whom felt compelled to defend his talent to this day.
Reel Opinions on Movies
Wednesday, December 21, 2011
Tuesday, November 1, 2011
Tower Heist: A Comedy That Clicks
No studio head would say the casting director is the most important person on a movie set. But a surprisingly large number of films fail to reach their potential as a result of miscasting. Fortunately, this is not the case with Tower Heist, the year’s most energetic comedy. Credit must be given to Kathleen Chopin, whose previous casting credits include Affliction, The Manchurian Candidate, and Hitch. Here she’s assembled an enthusiastic, high profile ensemble lead by Ben Stiller and most importantly Eddie Murphy, who delivers his funniest performance since the 1980s.
For pure laughs, Tower Heist matches this summer's Horrible Bosses. It's a genuine crowd-pleaser that demands audience participation, in part due to a timely premise. Alan Alda, oozing smug charm, plays Arthur Shaw, billionaire penthouse resident of a luxury Central Park condominium. At the misguided request of building manager Josh Kovaks (Stiller), Shaw was put in charge of staff pensions, a scary development echoing a certain highly publicized New York City scandal. When Shaw is placed under house arrest for defrauding his investors, Kovaks and other employees begin plotting to steal Shaw's $20 million safety net with the help of Slide (Murphy), a low-level neighborhood thief.
I'm sure some will object to director Brett Ratner (X-Men: The Last Stand, Rush Hour) hijacking his basic premise from the Madoff Ponzi scheme, which ruined countless lives. A dramatic retelling of real life events could have come across as dishonest and manipulative, but working with a genuinely funny script from writers Ted Griffin and Jeff Nathanson, Ratner manages to avoid such criticism. The smartest decision was putting audiences in the position to cheer a team of underdog schemers seeking retribution. The entire revenge robbery, which builds momentum throughout the film's second half, is played for laughs. Meanwhile, a lively cast distracts us from thinking too hard about the implausibility of certain key events down the stretch.
The strength of this cast cannot be overstated. I can imagine several of the films most facetious exchanges floundering, with say, the Happy Madison team in place. Casting Murphy (who Ratner also handpicked to host the 2012 Oscars) was the film's ace in the hole. To call his resume uneven over the past two decades is a generous assessment. Even on occasions when he has proven funny, such as The Nutty Professor and Shrek, they've come courtesy of safer material meant for the broadest possible audience. But here he has wisely abandoned the family-friendly persona that often handicapped his natural charisma. Murphy's performance feels fresh, that of a mature performer rediscovering why audiences embraced him in the first place. His character is street smart, brash, and fast-talking, calling to mind his work on Saturday Night Live and early iconic roles in 48 Hrs. and Beverly Hills Cop.
With much of the funniest material relegated to Murphy, Stiller plays it straight and keeps the film grounded, except for one scene when he goes berserk on a priceless automobile. The two stars share an easygoing chemistry, with Stiller’s sincerity meshing well with Murphy’s exuberance. The rest of the large ensemble fills their roles admirably, save Casey Affleck, who apparently was never told this was a comedy. Matthew Broderick, who has perfected his middle-age dweeb act, elicits several laughs, while Tea Leoni surprises with one of the funnier inebriated scenes in a long time. Character actor Michael Pena (Crash) and Gabourey Sidibe (Precious) both show deft comedic timing, while the invaluable Judd Hirsch makes the most of a throw away part.
Ratner has been an easy target for film snobs over the last decade. The word “hack” has been known to surface when his name is discussed. But for all of his shortcomings, he avoids the much-copied “Apatow syndrome,” which dictates that a comedy must stretch thirty minutes beyond an appropriate end point. Working with top talent, Ratner has delivered a mainstream comedy that is not only well paced and executed, but also a lot of fun. Now if Murphy can just stay away from those G ratings.
(B+)
For pure laughs, Tower Heist matches this summer's Horrible Bosses. It's a genuine crowd-pleaser that demands audience participation, in part due to a timely premise. Alan Alda, oozing smug charm, plays Arthur Shaw, billionaire penthouse resident of a luxury Central Park condominium. At the misguided request of building manager Josh Kovaks (Stiller), Shaw was put in charge of staff pensions, a scary development echoing a certain highly publicized New York City scandal. When Shaw is placed under house arrest for defrauding his investors, Kovaks and other employees begin plotting to steal Shaw's $20 million safety net with the help of Slide (Murphy), a low-level neighborhood thief.
I'm sure some will object to director Brett Ratner (X-Men: The Last Stand, Rush Hour) hijacking his basic premise from the Madoff Ponzi scheme, which ruined countless lives. A dramatic retelling of real life events could have come across as dishonest and manipulative, but working with a genuinely funny script from writers Ted Griffin and Jeff Nathanson, Ratner manages to avoid such criticism. The smartest decision was putting audiences in the position to cheer a team of underdog schemers seeking retribution. The entire revenge robbery, which builds momentum throughout the film's second half, is played for laughs. Meanwhile, a lively cast distracts us from thinking too hard about the implausibility of certain key events down the stretch.
The strength of this cast cannot be overstated. I can imagine several of the films most facetious exchanges floundering, with say, the Happy Madison team in place. Casting Murphy (who Ratner also handpicked to host the 2012 Oscars) was the film's ace in the hole. To call his resume uneven over the past two decades is a generous assessment. Even on occasions when he has proven funny, such as The Nutty Professor and Shrek, they've come courtesy of safer material meant for the broadest possible audience. But here he has wisely abandoned the family-friendly persona that often handicapped his natural charisma. Murphy's performance feels fresh, that of a mature performer rediscovering why audiences embraced him in the first place. His character is street smart, brash, and fast-talking, calling to mind his work on Saturday Night Live and early iconic roles in 48 Hrs. and Beverly Hills Cop.
With much of the funniest material relegated to Murphy, Stiller plays it straight and keeps the film grounded, except for one scene when he goes berserk on a priceless automobile. The two stars share an easygoing chemistry, with Stiller’s sincerity meshing well with Murphy’s exuberance. The rest of the large ensemble fills their roles admirably, save Casey Affleck, who apparently was never told this was a comedy. Matthew Broderick, who has perfected his middle-age dweeb act, elicits several laughs, while Tea Leoni surprises with one of the funnier inebriated scenes in a long time. Character actor Michael Pena (Crash) and Gabourey Sidibe (Precious) both show deft comedic timing, while the invaluable Judd Hirsch makes the most of a throw away part.
Ratner has been an easy target for film snobs over the last decade. The word “hack” has been known to surface when his name is discussed. But for all of his shortcomings, he avoids the much-copied “Apatow syndrome,” which dictates that a comedy must stretch thirty minutes beyond an appropriate end point. Working with top talent, Ratner has delivered a mainstream comedy that is not only well paced and executed, but also a lot of fun. Now if Murphy can just stay away from those G ratings.
(B+)
Movies, Movies, & Movies
At the recommendation of my most valued consiglieres, I am turning the primary focus of future blogs to film reviews, commentaries, tributes, and categorical rankings. Looking for the finest Al Pacino performances? How about the best twenty action films you've never seen? Or the most rewatchable comedies starring Saturday Night Live alumni? You'll find them all right here. It's been correctly suggested that for my blog to catch on, I need to stick to a general focal point and there is no subject I'm better equipped to handle than the movies. I still go any chance I get, pay the incomprehensible $12.00 for popcorn and peanut M&Ms, and enjoy my two hours in the dark. At least AMC Stubs and Regal Rewards provide a little more bang for your buck these days.
Don't worry though. I still plan on covering life changing family moments, historic sporting events, and memorable television shows. I will also continue my annual memorial tribute in December and Oscar predictions in February. So sit back in your recliner, grab a coffee, and absorb the valuable opinions of a man who still has slightly too much on time on his hands.
Don't worry though. I still plan on covering life changing family moments, historic sporting events, and memorable television shows. I will also continue my annual memorial tribute in December and Oscar predictions in February. So sit back in your recliner, grab a coffee, and absorb the valuable opinions of a man who still has slightly too much on time on his hands.
Welcome Back Mr. & Mrs. Pava!
What a summer! Nearly eight years after first meeting in Casco, Maine, T and I finally tied the knot in New Orleans over Memorial Day Weekend. This means that my blog title, which originally referred to 'my girlfriend,' then 'my fiance,' will have to be changed for a third and presumably final time, to 'my wife.' I spent the majority of my 30th birthday in a terminal at the Akron Canton Airport as our flight was delayed due to extreme winds and sure enough, once we were on the runway a tornado surfaced just yards away! It turned out to a combination of fog and chemicals being sprayed on the plane before takeoff, though it felt real enough. I can say with confidence that if you're going to be stuck in an airport all afternoon, traveling for your wedding is the way to go. A situation that typically would've resulted in hurling my cell phone at the nearest wall was reduced to a minor irritation in an otherwise perfect week. It's a little hard processing that I now have a wife, because it means that I am a husband. This is definitely the most grownup I have ever sounded. I still remember my anticipation walking to apply for marriage certificates in New Orleans. When a person gets excited about filling out paperwork, something great is happening.
Following a phenomenal weekend in "The Big Easy," we unfortunately had to go back to work and school for a few weeks, before the frenetic move back to Newton, MA in late June. Funny how one's perspective changes. When we originally left for Northeast Ohio or what I once considered The Midwest, I was a 27-year-old spring chicken (the only phrase I use specifically to appease my Senior demographic). I am now older, slightly wiser, and walk around every day sporting some serious bling on my finger. Don't worry about my being a left-handed though. I take it off at the appropriate times. :)
I wavered repeatedly over whether to write about our wedding weekend in great detail, ultimately deciding against it. Some things are better left unsaid, as I have private thoughts and feelings about the wedding that are just for me. But I offer my most sincere thanks to everyone who came down to New Orleans to celebrate with us. It was undoubtedly the most amazing weekend of my life, in no small part because I left married to my favorite person in the entire world. I will cherish these memories forever.
Following a phenomenal weekend in "The Big Easy," we unfortunately had to go back to work and school for a few weeks, before the frenetic move back to Newton, MA in late June. Funny how one's perspective changes. When we originally left for Northeast Ohio or what I once considered The Midwest, I was a 27-year-old spring chicken (the only phrase I use specifically to appease my Senior demographic). I am now older, slightly wiser, and walk around every day sporting some serious bling on my finger. Don't worry about my being a left-handed though. I take it off at the appropriate times. :)
I wavered repeatedly over whether to write about our wedding weekend in great detail, ultimately deciding against it. Some things are better left unsaid, as I have private thoughts and feelings about the wedding that are just for me. But I offer my most sincere thanks to everyone who came down to New Orleans to celebrate with us. It was undoubtedly the most amazing weekend of my life, in no small part because I left married to my favorite person in the entire world. I will cherish these memories forever.
Sunday, February 27, 2011
The Best & Worst Movies of 2010
Well, the Oscars came and went. Not much to report actually with few surprises other than David Fincher losing best director and Jennifer Lawrence turning out to be the curviest woman in the room. Anyone who's seen her work in Winter's Bone will be stunned by her real appearance. The ceremony moved a little faster than usual, but was pretty lifeless. Hathaway gave it her all, although the big question today remains whether or not Franco was stoned through the telecast. Based on his robotic performance, it's a fair question. The King's Speech was the evening's big winner, a worthy choice in a year without an overwhelming favorite. But it's not the year's best film, as you're about to see (in reverse order).
Note: I saw virtually every notable film released this year excluding documentaries and foreign films (movies are supposed to be fun people), with the exception of Black Swan and Hereafter, which I'll get to eventually. The most amazing thing about the top ten . . . Half the list takes places in or around Boston! Hey, I can't help it if Hollywood finally realized we're the greatest city in the world.
10. True Grit - I considered a half-dozen films for the final spot, including Buried, The Green Zone, The Next Three Days, 127 Hours, Toy Story 3, & Winter's Bone, before settling reluctantly on the latest effort from the Coen Brothers (I would've felt better cutting the list at #7, but 10 is the unofficial required mark for lists like this). While not quite among their finest films, the year's most notable remake slowly drew me in and weeks later I find myself still thinking about it. If the plot was minimal, the visuals were anything but as the Coens produced images that will last long after they've gone. It's a western for sure, but like most of their work, it finds time to be moving, suspenseful, and funny. Newcomer Hailee Steinfeld (only 14!) stole most scenes from veterans Jeff Bridges & Matt Damon, who slid effortlessly into their respective roles. Though imperfect, any film with a major character named LaBoeuf (pronounced "La Beef") has to make my top 10, barely.
9. City Island - The closest thing to a comedy on the list, this little seen gem was a late addition to the top 10. Made for only 6 million dollars, it was one of the year's great surprises, as a small town family from the Bronx tries to conceal personal secrets from one another in hopes of maintaining their 'normal' lifestyle. The writing was delightfully quirky, the characters true individuals. But holding both the family and film together was Andy Garcia playing a corrections officer with closet acting aspirations and a convict son nobody knows about. For my money, it's the best performance in a vastly underrated career.
8. Shutter Island - Despite being one of the biggest movie stars in the world, Leonardo DiCaprio may actually be underrated. HIs haunting, paranoid work in Martin Scorsese's latest may be the most mature performance in a career destined for some type of lifetime achievement award years down the road. The movie opened last February to big business and mixed reviews, but on rewatch the film's debated ending adds resonance to every scene that came before. It's not the easiest film to watch (Scorsese's films are often visually uncompromising), but several individual scenes are among the most compelling of the year. The score and cinematography deserved oscar consideration, as did DiCaprio. Even if history regards this as another 'Cape Fear' from Scorsese, there are worse things to be. And kudos to Marty for choosing MA over NYC again!
7. Harry Potter and the Deathly Hallows, Pt. I - I'd liked all the previous Harry Potter films to varying degrees. This is the first one I've loved. Potential handicaps regarding the split of the lengthy final Potter novel were unfounded as Pt.I concluded dramatically, despite the fact that nearly all of the stories action is on hold for this summer's Pt. 2. Though 150 minutes, the film had me hooked from the opening snake scene (arguably the year's scariest). All three principal actors did their best work in by far the most adult film in the hugely successful series. I saw Pt. I alone in a completely empty movie theater long after it had opened and as I sat in my private auditorium on a Monday afternoon, I repeatedly felt I was watching an epic along the lines of Lord of the Rings. Something tells me they've saved the best for last.
6. Inception - Narrowly edges Potter as 2010's best blockbuster. Christopher Nolan continues to challenge his audiences with his latest mind-bender, focusing on a group of characters attempting to extract information from a target's dreams. A description of the plot doesn't do this film justice. Visually it's the most memorable film experience of the year, even if I'm not completely sold that every aspect of the story comes together. It demands careful audience attention and Nolan deserves credit for not lowering his standards. It boasts the year's best score, while DiCaprio proves the ideal anchor for the 2nd time in 2010, though he's supported by a strong ensemble including Joseph Gordon-Levitt, Marion Cotillard, & Ellen Page. The script was often ingenious, while those rotating city blocks may be the year's single greatest image. I hope that Nolan's second directing snub in three years (he also deserved one for The Dark Knight in '08) isn't the beginning of a trend. I trust the academy will eventually get it right.
5. The Ghost Writer - Sometimes all the elements fall into place and the result is a perfectly crafted motion picture. Roman Polanski's latest thriller is one such film, a mystery that keeps the audience off-balance and guessing until the very last frame. Of any 2010 release completely ignored by the academy, The Ghost Writer has the biggest beef. Few films this year evoked a stronger sense of time and place, or boasted a more intelligent script. The film was also perfectly cast, with Ewan McGregor, Pierce Brosnan, Olivia Williams, and especially Tom Wilkinson turning in fine performances. Every last detail seemed a deliberate choice, including a memorable musical score that matched the considerable atmosphere. Polanski, like Scorsese, is among a handful of directors who have a style that is unique to them and them alone. There's even a brief shot of that most familiar green Mass Pike sign reading Exit 17 Newton-Watertown. How good is that? But for some reason I don't have a strong desire to see it again. I appreciated knowing virtually nothing about the story going in, but because of this certain films are most effective with one viewing. Rewatchability is a major factor in establishing which movies stand the test of time and it's the reason that the #4 spot goes to another thriller, barely.
4. The Town - I have a hunch this one will rise in the rankings every 6 months or so. On my initial viewing of Ben Affleck's 2nd directorial feature (following 2007's near perfect Gone Baby Gone), I enjoyed it immensely while dismissing it as a fun heist movie. Another look revealed a deeper story and an establishment of location as character that surpassed The Departed in many ways. This is the 'most' Boston I've experienced at the movies in some time and while I don't claim to have grown up in Charlestown, everything just felt right. On the surface it's about the leader of a team of successful bank robbers who falls for the wrong woman. Underneath it's about survival and how there's really no right side of the law. Affleck is a good actor who for a time got stuck with lame star vehicles, but here he wisely surrounded himself with top talent, most notably Jeremy Renner whose performance as the volatile Jem was one of my 3 favorites from 2010. Strong turns were also given by Rebecca Hall, John Hamm, Chris Cooper, and the late Pete Postlethwaite. The Town will undoubtedly find it's way into my dvd collection if only for the action scenes, but it's better than that. As Fergie the Florist put it in that great, thick accent, "Taking down the cathedral of Boston? Priceless."
3. The King's Speech - I didn't want to see this movie. It looked like another stuffy, British period-piece with funny accents and few American actors. But overwhelmingly positive reviews and word of mouth forced my hand and I'm glad it did. While it'd be worth seeing if only for it's attention to setting detail, this film arguably had more heart than any other major release in 2010. Oscar winning director Tom Hooper turned a relatively simple story (a dehabilitating stammer forces King George VI to seek a speech therapist) into something truly compelling that builds momentum from a slightly slow start to it's perfectly handled climax. Interestingly enough, my top 3 movies are all based in large part on true stories. While not a reflection on the quality of these particular films, it certainly supports the notion that Hollywood no longer takes chances with original material. What distinguishes The King's Speech from the field are it's headlining performances. Colin Firth was sensational in his oscar winning title role, while Geoffrey Rush was every bit his equal as Lionel Logue. The two had remarkable chemistry in a film that was sad yet funny, tragic yet uplifting. Amongst recent best picture winners, it falls short of The Departed & No Country For Old Men, but easily surpasses Crash, Slumdog Millionaire, & The Hurt Locker. But it wouldn't have been my choice for the best of 2010.
2. The Fighter - The most entertaining film of 2010 also challenged The King's Speech for the year's best ensemble. The latest from quirky director David O. Russell stars Mark Wahlberg as Mickey Ward, a welterweight from Lowell (give it up for another film set in Massachusetts!) who struggles to become anything other than a stepping-stone for other boxers due to his dysfunctional family managed team. At the film's center is Mickey's relationship with older half-brother Dicky, his drug addicted trainer who simultaneously represents his greatest inspiration and obstacle. It's hard to make an original boxing movie, because the general plot-line has become such a cliche: An individual fights either underdog status (Rocky), personal demons (Raging Bull), or other various obstacles (Cinderella Man, The Hurricane, Million Dollar Baby) on his way to love & respect, if not a championship of some sort. But there's something inherently compelling about this structure that not only attracts audiences, but top talent due to the high-profile nature of these roles. Wahlberg is the film's rock in a strong performance, but it's Christian Bale (this year's best supporting actor) who walked off with the movie. It's the most convincing performance yet in a career filled with impressive transformations. I couldn't turn away any time Bale was onscreen. It was as if the filmmakers wandered into Lowell and cast a drifting crackhead! Also terrific were Amy Adams as Mickey's tough girlfriend (nominated) & another oscar winner, Melissa Leo as Mickey's mother and manager. The fighting scenes were believable and filmed with flair, but these relationships outside the ring were what made this more than just another boxing movie.
1. The Social Network - A close call for the top spot, but David Fincher's latest gets the nod (sorry T) for it's undeniable bond to the 21st century. No film in recent years felt as much a product of it's time as this one. I'd imagine it's how audiences connected with The Graduate & Easy Rider in the late 60s, or The Breakfast Club & Wall Street in the mid-80s. It tapped into something very real and very modern about the way we interact and a society that lives online (even grandparents use facebook). Of course all of this would be irrelevant if the film weren't so well made. The script sparkles with creative dialogue (from oscar winner Aaron Sorkin) as it chronicles the invention of facebook by Mark Zuckerberg and subsequent lawsuits over ownership rights to what has since become the world's most popular website. Early scenes at Harvard provide a perfect snapshot of college life (for many I'm sure) in the last decade, while introducing vividly realized characters. As Zuckerberg, Jesse Eisenberg cements his status as one of the best young actors working. His rapid fire delivery and lack of understanding in human relationships makes him an easy target for others contempt once he hits the jackpot. Nearly his equal was Andrew Garfield as facebook cofounder and Zuckerberg's former best friend Eduardo Saverin, who (according to the movie) was more-or-less tricked out of his company shares. Justin Timberlake was also noteworthy as Napster creator Sean Parker, who's role in the rise of facebook was news to many viewers (myself included). Fincher made the movie fascinating from one end to the other. It's a two hour movie that feels about 1/2 that length. I liked it even more on 2nd viewing and suspect it's the film that will stand the test of time.
Before mentioning the year's worst films, it's worth mentioning a few of 2010's GUILTY PLEASURES, defined as "Something that brings pleasure but is considered taboo, unadvisable or lowbrow." The definition isn't full proof (a few of these are pretty decent movies) but for the most part, these are movies I greatly enjoyed despite being unable to defend on any sort of intellectual level. Perhaps unsurprisingly given the category title, a distinct 80s feel permeates the group.
The A-Team - My favorite of the big, loud, dumb, summer offerings (besting The Expendables in the battle of testosterone-fueled 80s mayhem), the umpteenth remake of a famous TV show was pure adrenaline. They cast all 4 leads exceptionally well (Liam Neeson, Bradley Cooper, 'Rampage' Jackson, & Sharlto Copley) and kept the Lethal Weaponish banter rolling throughout. The action was suitably over-the-top, although it lost a little momentum by the end. Copley's failed attempt to jump start an ambulance with a defribillator was a highlight.
Diary of a Wimpy Kid - No 2010 release brought so many unexpected smiles to my face. Junior High is an often neglected era in people's lives (there have been 100s of High School movies) and the film version of the children's book got much of it just right. I remembered all the silly insults, the awkwardness of puberty, our views on adults & siblings, and those last years of male bonding before girls became something more than that other weird species in class. This one struck a chord.
The Karate Kid - Although A.J. will consider this blasphemy, I wandered into the remake of one of my favorite 80s movies about a month after it opened and found myself enjoying it almost as much as the original. The main cast was younger, but they made it work. Jackie Chan replaced Pat Morita, but he made it work (he may have actually been better). It was at least 20 minutes too long, but it was sweet, funny, & well acted with a satisfying ending, though the climax fell FAR short of the original.
Predators - Who would've thought Adrien Brody could so capably replace Arnold Schwarzenegger? He held the movie together with tough-talking charisma, as those around him were gruesomely picked off one-by-one. Although Lawrence Fishburne turned up briefly (in a segment that made little sense), the remake did a reasonably faithful job replicating the somehow claustrophobic jungle-like-setting of the original. The headlining villain remains one of the last truly inspired visual creations in the movies.
She's Out of My League - That romantic-comedy with the nasal voiced Jay Baruchel? Really? Baruchel often inspires eye-rolling when I see his name, but he has a strange charm that manages to win over the viewer by the end. The movie was less raunchy than one might expect from the ads, but it suckered me in with our hero constantly at odds with his own self-esteem as he struggled to date the stunning Alice Eve (only in a movie could this happen). Put it this way . . . It wouldn't have been worth paying to see, but it's a nice little comedy on a rainy night on DVD.
A few more movies I can recommend without reservation, depending on your mood:
For the action/thriller crowd:
From Paris with Love (Travolta's best role in years)
Frozen (several genuinely frightening moments)
Iron Man 2 (a worthy sequel that plays better at home)
Kick-Ass (Cage's best paycheck role in a decade)
Unstoppable (a genuine adrenaline-rush, could've been the sequel to Speed)
For the adults in the room:
Conviction (another Mass-based story w/ a great performance by Sam Rockwell)
The Kids Are All Right (well-acted & written, but wildly overpraised)
Love and Other Drugs (successfully took a young adult relationship seriously)
Morning Glory (slight, but fun look at a TV newsroom w/ a strong cast)
Solitary Man (an inspired Michael Douglas performance, far better than his mediocre Wall Street sequel)
For the kids in the room:
Alice in Wonderland (Tim Burton's most entertaining, creative film in years)
How to Train Your Dragon (a lot of fun for all ages)
Shrek Forever After (better than the previous two sequels)
Sadly, I couldn't put together a legitimate comedy list. An abundance of high-profile studio comedies came out in 2010, but it seemed the bigger the stars, the greater reliance on their appeal for laughs. There was nothing to approach the laugh ratio of movies like Superbad ('07) or even The Hangover ('09). Instead we got new entries from Sandler (Grown Ups), Ferrell (The Other Guys), Carell (Dinner for Schmucks/Date Night), Cusack (another 80s throwback Hot Tub Time Machine), Stiller (Little Fockers), Rock (Death at a Funeral), & Downey Jr. (Due Date). All were sort of amusing in spurts, but ultimately forgettable. Of all this year's major comedy releases, the most consistently funny was probably Get Him to the Greek. Too bad.
And finally we've arrived at the year's worst. I had to choose only 5 from the remaining 25 or so films I haven't mentioned, no easy task. Many were merely mediocre and will escape my wrath. But there's no excusing the next group, all of which I genuinely hated (thankfully I didn't pay to see any of them) . . .
5. Cop Out - Narrowly edged The Bounty Hunter (which I turned off before finishing) & Prince of Persia (which I should've) for the final spot. I've always liked Bruce Willis in spite of his inconsistent (to be kind) career choices and this lame action/comedy was one of the worst. Tracy Morgan, who can be funny in small doses, is annoying to a fault here in a movie that has no identity. Is it a standard order police thriller or is it trying to lampoon the genre? Most disheartening is that it's terribly directed by Kevin Smith, who no doubt could've mustered a few laughs had he written it himself. This is the worst kind of mainstream entertainment, a movie that attempts little and can't even succeed at that. A complete bore.
4. Valentine's Day - Makes the previous year's He's Just Not That Into You look like an oscar contender. For a while Valentine's Day got by on the sheer volume of popular actors they'd assembled. But it quickly became clear that the studio behind this disaster had no intention beyond drawing a holiday crowd opening weekend, which they sadly achieved. There is no real story at all, just a collection of uninspired vignettes highlighting the small problems that arise every February 14th. And in an attempt to accommodate so many stars, this lifeless mess of a romantic-comedy clocks in at more than 2 hours! Forget Valentine's Day: this should be played at every Passover Seder so we never forget the pain of our ancestors.
3. Robin Hood - The worst film ever directed by Ridley Scott, and it's not even close. I wanted to see the latest version of Robin Hood in theaters but stayed away on the advice of most critics and I'm glad I did. Sitting through this nonsensical, ugly 150 minute movie was a monumental waste of time. There wasn't a single exciting scene, it was poorly paced, with no character development. The latter was unacceptable given they cast two of the finest actors in the business (Russell Crowe & Cate Blanchett) in the leads. Neither brought anything special to their roles and I'm starting to think Gladiator (2000) is the worst thing that could've happened to Scott's career. It seems ever since he's been trying replicate the success of the blockbuster best picture winner (the similarly themed Kingdom of Heaven was also a dud) when his greatest strength has always been quieter films based on atmosphere and character. You'd be better off revisiting the Costner version, which is saying something.
2. Eat Pray Love - I'm not sure I've ever hated a lead character in any movie more than Liz Gilbert, the subject of 2010's most insufferable chick flick. Reportedly people either love or hate the book upon which it's based, detailing Gilbert's year long personal exploration in Rome, India, & Bali. Not only was the story among the most self-indulgent I've ever witnessed onscreen, but I found Gilbert herself completely unredeeming. She came off as selfish and boring and nothing about this woman warranted a big screen treatment. It's worth noting there's nothing wrong with the performances. Julia Roberts was actually quite good in the lead and was given strong support by the likes of Richard Jenkins and Javier Bardem, the latter one of many men she couldn't muster up the nerve to give anything that didn't first benefit herself. It's hard to like a film in which you want to choke the main character every time she appears onscreen, which was pretty much every scene. Not only that, but this slight tale dragged on FOREVER! Even T left the room with about 30 minutes remaining. Take this review with a grain of salt. Obviously I was not the target audience for this trash heap, but I'd like to believe I could identify a thoughtful take on an adult woman having a midlife crisis. This wasn't it.
1. The Last Airbender - A close call over Eat Pray Love, but at least one could argue that film was assembled with at a vague degree of competence. The latest from M. Night Shyamalan is the worst film yet on a resume that now includes The Village, Lady in the Water, and The Happening. No small feat there! What's most disheartening is it was only a decade ago many thought Shyamalan was the most talented writer/director to emerge in years, a fearless cross between Spielberg and Hitchcock. Some have claimed the mega-success of The Sixth Sense ('99), with it's shocking twist ending ruined the director with audience expectations that couldn't possibly be met. But that's bullshit. Even if the endings to follow ups like Unbreakable and Signs fell short of his signature, they were none-the-less well told stories with attention to craft and detail. 2010 Shyamalan is much closer to Michael Bay than the aforementioned directors. Airbender is so stupid, so dull, so completely devoid of any thought, it's as if someone bet Shyamalan that he couldn't ruin his career in a 5 year span. The story is not for anyone above the age of 10. The special f/x are hokey. The only notable name in the cast is Dev Patel, a far cry from the days when Willis & Crazy Mel were headlining his pictures. The rest is comprised of no names acting like they are in a bad 3rd grade stage play. I considered turning this movie off a half-dozen times, but I stubbornly have a rule that I need to finish movies I've started. I wish I didn't. If I followed my gut and stopped watching fifteen minutes in, I could've spent that afternoon doing laundry, cutting my toe nails, emptying the dishwasher, shaving, and job hunting. For the record those are 5 of my least favorite activities on Earth. And all would've been preferable to experiencing The Last Airbender.
EDIT: 11/02/11
How Do You Know, featuring Reese Witherspoon, Paul Rudd, Owen Wilson, & Jack Nicholson is one of the worst romantic comedies in a decade. Unoriginal, unfunny, and completely boring. It would probably take the #3 spot on my worst list if I'd seen it earlier.
Thanks for reading
Note: I saw virtually every notable film released this year excluding documentaries and foreign films (movies are supposed to be fun people), with the exception of Black Swan and Hereafter, which I'll get to eventually. The most amazing thing about the top ten . . . Half the list takes places in or around Boston! Hey, I can't help it if Hollywood finally realized we're the greatest city in the world.
10. True Grit - I considered a half-dozen films for the final spot, including Buried, The Green Zone, The Next Three Days, 127 Hours, Toy Story 3, & Winter's Bone, before settling reluctantly on the latest effort from the Coen Brothers (I would've felt better cutting the list at #7, but 10 is the unofficial required mark for lists like this). While not quite among their finest films, the year's most notable remake slowly drew me in and weeks later I find myself still thinking about it. If the plot was minimal, the visuals were anything but as the Coens produced images that will last long after they've gone. It's a western for sure, but like most of their work, it finds time to be moving, suspenseful, and funny. Newcomer Hailee Steinfeld (only 14!) stole most scenes from veterans Jeff Bridges & Matt Damon, who slid effortlessly into their respective roles. Though imperfect, any film with a major character named LaBoeuf (pronounced "La Beef") has to make my top 10, barely.
9. City Island - The closest thing to a comedy on the list, this little seen gem was a late addition to the top 10. Made for only 6 million dollars, it was one of the year's great surprises, as a small town family from the Bronx tries to conceal personal secrets from one another in hopes of maintaining their 'normal' lifestyle. The writing was delightfully quirky, the characters true individuals. But holding both the family and film together was Andy Garcia playing a corrections officer with closet acting aspirations and a convict son nobody knows about. For my money, it's the best performance in a vastly underrated career.
8. Shutter Island - Despite being one of the biggest movie stars in the world, Leonardo DiCaprio may actually be underrated. HIs haunting, paranoid work in Martin Scorsese's latest may be the most mature performance in a career destined for some type of lifetime achievement award years down the road. The movie opened last February to big business and mixed reviews, but on rewatch the film's debated ending adds resonance to every scene that came before. It's not the easiest film to watch (Scorsese's films are often visually uncompromising), but several individual scenes are among the most compelling of the year. The score and cinematography deserved oscar consideration, as did DiCaprio. Even if history regards this as another 'Cape Fear' from Scorsese, there are worse things to be. And kudos to Marty for choosing MA over NYC again!
7. Harry Potter and the Deathly Hallows, Pt. I - I'd liked all the previous Harry Potter films to varying degrees. This is the first one I've loved. Potential handicaps regarding the split of the lengthy final Potter novel were unfounded as Pt.I concluded dramatically, despite the fact that nearly all of the stories action is on hold for this summer's Pt. 2. Though 150 minutes, the film had me hooked from the opening snake scene (arguably the year's scariest). All three principal actors did their best work in by far the most adult film in the hugely successful series. I saw Pt. I alone in a completely empty movie theater long after it had opened and as I sat in my private auditorium on a Monday afternoon, I repeatedly felt I was watching an epic along the lines of Lord of the Rings. Something tells me they've saved the best for last.
6. Inception - Narrowly edges Potter as 2010's best blockbuster. Christopher Nolan continues to challenge his audiences with his latest mind-bender, focusing on a group of characters attempting to extract information from a target's dreams. A description of the plot doesn't do this film justice. Visually it's the most memorable film experience of the year, even if I'm not completely sold that every aspect of the story comes together. It demands careful audience attention and Nolan deserves credit for not lowering his standards. It boasts the year's best score, while DiCaprio proves the ideal anchor for the 2nd time in 2010, though he's supported by a strong ensemble including Joseph Gordon-Levitt, Marion Cotillard, & Ellen Page. The script was often ingenious, while those rotating city blocks may be the year's single greatest image. I hope that Nolan's second directing snub in three years (he also deserved one for The Dark Knight in '08) isn't the beginning of a trend. I trust the academy will eventually get it right.
5. The Ghost Writer - Sometimes all the elements fall into place and the result is a perfectly crafted motion picture. Roman Polanski's latest thriller is one such film, a mystery that keeps the audience off-balance and guessing until the very last frame. Of any 2010 release completely ignored by the academy, The Ghost Writer has the biggest beef. Few films this year evoked a stronger sense of time and place, or boasted a more intelligent script. The film was also perfectly cast, with Ewan McGregor, Pierce Brosnan, Olivia Williams, and especially Tom Wilkinson turning in fine performances. Every last detail seemed a deliberate choice, including a memorable musical score that matched the considerable atmosphere. Polanski, like Scorsese, is among a handful of directors who have a style that is unique to them and them alone. There's even a brief shot of that most familiar green Mass Pike sign reading Exit 17 Newton-Watertown. How good is that? But for some reason I don't have a strong desire to see it again. I appreciated knowing virtually nothing about the story going in, but because of this certain films are most effective with one viewing. Rewatchability is a major factor in establishing which movies stand the test of time and it's the reason that the #4 spot goes to another thriller, barely.
4. The Town - I have a hunch this one will rise in the rankings every 6 months or so. On my initial viewing of Ben Affleck's 2nd directorial feature (following 2007's near perfect Gone Baby Gone), I enjoyed it immensely while dismissing it as a fun heist movie. Another look revealed a deeper story and an establishment of location as character that surpassed The Departed in many ways. This is the 'most' Boston I've experienced at the movies in some time and while I don't claim to have grown up in Charlestown, everything just felt right. On the surface it's about the leader of a team of successful bank robbers who falls for the wrong woman. Underneath it's about survival and how there's really no right side of the law. Affleck is a good actor who for a time got stuck with lame star vehicles, but here he wisely surrounded himself with top talent, most notably Jeremy Renner whose performance as the volatile Jem was one of my 3 favorites from 2010. Strong turns were also given by Rebecca Hall, John Hamm, Chris Cooper, and the late Pete Postlethwaite. The Town will undoubtedly find it's way into my dvd collection if only for the action scenes, but it's better than that. As Fergie the Florist put it in that great, thick accent, "Taking down the cathedral of Boston? Priceless."
3. The King's Speech - I didn't want to see this movie. It looked like another stuffy, British period-piece with funny accents and few American actors. But overwhelmingly positive reviews and word of mouth forced my hand and I'm glad it did. While it'd be worth seeing if only for it's attention to setting detail, this film arguably had more heart than any other major release in 2010. Oscar winning director Tom Hooper turned a relatively simple story (a dehabilitating stammer forces King George VI to seek a speech therapist) into something truly compelling that builds momentum from a slightly slow start to it's perfectly handled climax. Interestingly enough, my top 3 movies are all based in large part on true stories. While not a reflection on the quality of these particular films, it certainly supports the notion that Hollywood no longer takes chances with original material. What distinguishes The King's Speech from the field are it's headlining performances. Colin Firth was sensational in his oscar winning title role, while Geoffrey Rush was every bit his equal as Lionel Logue. The two had remarkable chemistry in a film that was sad yet funny, tragic yet uplifting. Amongst recent best picture winners, it falls short of The Departed & No Country For Old Men, but easily surpasses Crash, Slumdog Millionaire, & The Hurt Locker. But it wouldn't have been my choice for the best of 2010.
2. The Fighter - The most entertaining film of 2010 also challenged The King's Speech for the year's best ensemble. The latest from quirky director David O. Russell stars Mark Wahlberg as Mickey Ward, a welterweight from Lowell (give it up for another film set in Massachusetts!) who struggles to become anything other than a stepping-stone for other boxers due to his dysfunctional family managed team. At the film's center is Mickey's relationship with older half-brother Dicky, his drug addicted trainer who simultaneously represents his greatest inspiration and obstacle. It's hard to make an original boxing movie, because the general plot-line has become such a cliche: An individual fights either underdog status (Rocky), personal demons (Raging Bull), or other various obstacles (Cinderella Man, The Hurricane, Million Dollar Baby) on his way to love & respect, if not a championship of some sort. But there's something inherently compelling about this structure that not only attracts audiences, but top talent due to the high-profile nature of these roles. Wahlberg is the film's rock in a strong performance, but it's Christian Bale (this year's best supporting actor) who walked off with the movie. It's the most convincing performance yet in a career filled with impressive transformations. I couldn't turn away any time Bale was onscreen. It was as if the filmmakers wandered into Lowell and cast a drifting crackhead! Also terrific were Amy Adams as Mickey's tough girlfriend (nominated) & another oscar winner, Melissa Leo as Mickey's mother and manager. The fighting scenes were believable and filmed with flair, but these relationships outside the ring were what made this more than just another boxing movie.
1. The Social Network - A close call for the top spot, but David Fincher's latest gets the nod (sorry T) for it's undeniable bond to the 21st century. No film in recent years felt as much a product of it's time as this one. I'd imagine it's how audiences connected with The Graduate & Easy Rider in the late 60s, or The Breakfast Club & Wall Street in the mid-80s. It tapped into something very real and very modern about the way we interact and a society that lives online (even grandparents use facebook). Of course all of this would be irrelevant if the film weren't so well made. The script sparkles with creative dialogue (from oscar winner Aaron Sorkin) as it chronicles the invention of facebook by Mark Zuckerberg and subsequent lawsuits over ownership rights to what has since become the world's most popular website. Early scenes at Harvard provide a perfect snapshot of college life (for many I'm sure) in the last decade, while introducing vividly realized characters. As Zuckerberg, Jesse Eisenberg cements his status as one of the best young actors working. His rapid fire delivery and lack of understanding in human relationships makes him an easy target for others contempt once he hits the jackpot. Nearly his equal was Andrew Garfield as facebook cofounder and Zuckerberg's former best friend Eduardo Saverin, who (according to the movie) was more-or-less tricked out of his company shares. Justin Timberlake was also noteworthy as Napster creator Sean Parker, who's role in the rise of facebook was news to many viewers (myself included). Fincher made the movie fascinating from one end to the other. It's a two hour movie that feels about 1/2 that length. I liked it even more on 2nd viewing and suspect it's the film that will stand the test of time.
Before mentioning the year's worst films, it's worth mentioning a few of 2010's GUILTY PLEASURES, defined as "Something that brings pleasure but is considered taboo, unadvisable or lowbrow." The definition isn't full proof (a few of these are pretty decent movies) but for the most part, these are movies I greatly enjoyed despite being unable to defend on any sort of intellectual level. Perhaps unsurprisingly given the category title, a distinct 80s feel permeates the group.
The A-Team - My favorite of the big, loud, dumb, summer offerings (besting The Expendables in the battle of testosterone-fueled 80s mayhem), the umpteenth remake of a famous TV show was pure adrenaline. They cast all 4 leads exceptionally well (Liam Neeson, Bradley Cooper, 'Rampage' Jackson, & Sharlto Copley) and kept the Lethal Weaponish banter rolling throughout. The action was suitably over-the-top, although it lost a little momentum by the end. Copley's failed attempt to jump start an ambulance with a defribillator was a highlight.
Diary of a Wimpy Kid - No 2010 release brought so many unexpected smiles to my face. Junior High is an often neglected era in people's lives (there have been 100s of High School movies) and the film version of the children's book got much of it just right. I remembered all the silly insults, the awkwardness of puberty, our views on adults & siblings, and those last years of male bonding before girls became something more than that other weird species in class. This one struck a chord.
The Karate Kid - Although A.J. will consider this blasphemy, I wandered into the remake of one of my favorite 80s movies about a month after it opened and found myself enjoying it almost as much as the original. The main cast was younger, but they made it work. Jackie Chan replaced Pat Morita, but he made it work (he may have actually been better). It was at least 20 minutes too long, but it was sweet, funny, & well acted with a satisfying ending, though the climax fell FAR short of the original.
Predators - Who would've thought Adrien Brody could so capably replace Arnold Schwarzenegger? He held the movie together with tough-talking charisma, as those around him were gruesomely picked off one-by-one. Although Lawrence Fishburne turned up briefly (in a segment that made little sense), the remake did a reasonably faithful job replicating the somehow claustrophobic jungle-like-setting of the original. The headlining villain remains one of the last truly inspired visual creations in the movies.
She's Out of My League - That romantic-comedy with the nasal voiced Jay Baruchel? Really? Baruchel often inspires eye-rolling when I see his name, but he has a strange charm that manages to win over the viewer by the end. The movie was less raunchy than one might expect from the ads, but it suckered me in with our hero constantly at odds with his own self-esteem as he struggled to date the stunning Alice Eve (only in a movie could this happen). Put it this way . . . It wouldn't have been worth paying to see, but it's a nice little comedy on a rainy night on DVD.
A few more movies I can recommend without reservation, depending on your mood:
For the action/thriller crowd:
From Paris with Love (Travolta's best role in years)
Frozen (several genuinely frightening moments)
Iron Man 2 (a worthy sequel that plays better at home)
Kick-Ass (Cage's best paycheck role in a decade)
Unstoppable (a genuine adrenaline-rush, could've been the sequel to Speed)
For the adults in the room:
Conviction (another Mass-based story w/ a great performance by Sam Rockwell)
The Kids Are All Right (well-acted & written, but wildly overpraised)
Love and Other Drugs (successfully took a young adult relationship seriously)
Morning Glory (slight, but fun look at a TV newsroom w/ a strong cast)
Solitary Man (an inspired Michael Douglas performance, far better than his mediocre Wall Street sequel)
For the kids in the room:
Alice in Wonderland (Tim Burton's most entertaining, creative film in years)
How to Train Your Dragon (a lot of fun for all ages)
Shrek Forever After (better than the previous two sequels)
Sadly, I couldn't put together a legitimate comedy list. An abundance of high-profile studio comedies came out in 2010, but it seemed the bigger the stars, the greater reliance on their appeal for laughs. There was nothing to approach the laugh ratio of movies like Superbad ('07) or even The Hangover ('09). Instead we got new entries from Sandler (Grown Ups), Ferrell (The Other Guys), Carell (Dinner for Schmucks/Date Night), Cusack (another 80s throwback Hot Tub Time Machine), Stiller (Little Fockers), Rock (Death at a Funeral), & Downey Jr. (Due Date). All were sort of amusing in spurts, but ultimately forgettable. Of all this year's major comedy releases, the most consistently funny was probably Get Him to the Greek. Too bad.
And finally we've arrived at the year's worst. I had to choose only 5 from the remaining 25 or so films I haven't mentioned, no easy task. Many were merely mediocre and will escape my wrath. But there's no excusing the next group, all of which I genuinely hated (thankfully I didn't pay to see any of them) . . .
5. Cop Out - Narrowly edged The Bounty Hunter (which I turned off before finishing) & Prince of Persia (which I should've) for the final spot. I've always liked Bruce Willis in spite of his inconsistent (to be kind) career choices and this lame action/comedy was one of the worst. Tracy Morgan, who can be funny in small doses, is annoying to a fault here in a movie that has no identity. Is it a standard order police thriller or is it trying to lampoon the genre? Most disheartening is that it's terribly directed by Kevin Smith, who no doubt could've mustered a few laughs had he written it himself. This is the worst kind of mainstream entertainment, a movie that attempts little and can't even succeed at that. A complete bore.
4. Valentine's Day - Makes the previous year's He's Just Not That Into You look like an oscar contender. For a while Valentine's Day got by on the sheer volume of popular actors they'd assembled. But it quickly became clear that the studio behind this disaster had no intention beyond drawing a holiday crowd opening weekend, which they sadly achieved. There is no real story at all, just a collection of uninspired vignettes highlighting the small problems that arise every February 14th. And in an attempt to accommodate so many stars, this lifeless mess of a romantic-comedy clocks in at more than 2 hours! Forget Valentine's Day: this should be played at every Passover Seder so we never forget the pain of our ancestors.
3. Robin Hood - The worst film ever directed by Ridley Scott, and it's not even close. I wanted to see the latest version of Robin Hood in theaters but stayed away on the advice of most critics and I'm glad I did. Sitting through this nonsensical, ugly 150 minute movie was a monumental waste of time. There wasn't a single exciting scene, it was poorly paced, with no character development. The latter was unacceptable given they cast two of the finest actors in the business (Russell Crowe & Cate Blanchett) in the leads. Neither brought anything special to their roles and I'm starting to think Gladiator (2000) is the worst thing that could've happened to Scott's career. It seems ever since he's been trying replicate the success of the blockbuster best picture winner (the similarly themed Kingdom of Heaven was also a dud) when his greatest strength has always been quieter films based on atmosphere and character. You'd be better off revisiting the Costner version, which is saying something.
2. Eat Pray Love - I'm not sure I've ever hated a lead character in any movie more than Liz Gilbert, the subject of 2010's most insufferable chick flick. Reportedly people either love or hate the book upon which it's based, detailing Gilbert's year long personal exploration in Rome, India, & Bali. Not only was the story among the most self-indulgent I've ever witnessed onscreen, but I found Gilbert herself completely unredeeming. She came off as selfish and boring and nothing about this woman warranted a big screen treatment. It's worth noting there's nothing wrong with the performances. Julia Roberts was actually quite good in the lead and was given strong support by the likes of Richard Jenkins and Javier Bardem, the latter one of many men she couldn't muster up the nerve to give anything that didn't first benefit herself. It's hard to like a film in which you want to choke the main character every time she appears onscreen, which was pretty much every scene. Not only that, but this slight tale dragged on FOREVER! Even T left the room with about 30 minutes remaining. Take this review with a grain of salt. Obviously I was not the target audience for this trash heap, but I'd like to believe I could identify a thoughtful take on an adult woman having a midlife crisis. This wasn't it.
1. The Last Airbender - A close call over Eat Pray Love, but at least one could argue that film was assembled with at a vague degree of competence. The latest from M. Night Shyamalan is the worst film yet on a resume that now includes The Village, Lady in the Water, and The Happening. No small feat there! What's most disheartening is it was only a decade ago many thought Shyamalan was the most talented writer/director to emerge in years, a fearless cross between Spielberg and Hitchcock. Some have claimed the mega-success of The Sixth Sense ('99), with it's shocking twist ending ruined the director with audience expectations that couldn't possibly be met. But that's bullshit. Even if the endings to follow ups like Unbreakable and Signs fell short of his signature, they were none-the-less well told stories with attention to craft and detail. 2010 Shyamalan is much closer to Michael Bay than the aforementioned directors. Airbender is so stupid, so dull, so completely devoid of any thought, it's as if someone bet Shyamalan that he couldn't ruin his career in a 5 year span. The story is not for anyone above the age of 10. The special f/x are hokey. The only notable name in the cast is Dev Patel, a far cry from the days when Willis & Crazy Mel were headlining his pictures. The rest is comprised of no names acting like they are in a bad 3rd grade stage play. I considered turning this movie off a half-dozen times, but I stubbornly have a rule that I need to finish movies I've started. I wish I didn't. If I followed my gut and stopped watching fifteen minutes in, I could've spent that afternoon doing laundry, cutting my toe nails, emptying the dishwasher, shaving, and job hunting. For the record those are 5 of my least favorite activities on Earth. And all would've been preferable to experiencing The Last Airbender.
EDIT: 11/02/11
How Do You Know, featuring Reese Witherspoon, Paul Rudd, Owen Wilson, & Jack Nicholson is one of the worst romantic comedies in a decade. Unoriginal, unfunny, and completely boring. It would probably take the #3 spot on my worst list if I'd seen it earlier.
Thanks for reading
Friday, February 25, 2011
Oscars 2011 & the Trouble with Procrastination
I'm finding it increasingly difficult to care about the Oscars. I've watched the annual telecast every year I can remember, dating back to watching with my Mom was a kid. We've always loved movies and this is unlikely to change. But while I will undoubtedly tune in again this Sunday night, I have mixed expectations. So many awards seem predetermined as to rob any potential suspense. Colin Firth is a lock for best actor (deservedly for his work in The King's Speech), while Christian Bale is a good bet for supporting actor for The Fighter (in the best performance of 2010). Toy Story 3 locked up best animated feature back in July, while the screenplay awards will go to The Social Network (adapted) and The King's Speech (original), unless the wildly inventive Inception pulls off an upset. The King's Speech will likely take best picture, but may lose director to Network's David Fincher. So what's left? The actress awards are less certain. Best actress will probably go to Natalie Portman (Black Swan) over Annette Bening (The Kids Are All Right), but why wasn't her castmate Julianne Moore nominated again? Supporting Actress is the only wide open category, but I expect an upset win for True Grit's Hailee Steinfeld, ironically a lead performance. I'm not all that psyched for James Franco & Anne Hathaway as hosts (call me traditional, but I'd rather see Billy Crystal up there), but maybe they will surprise. The rest of the evening is comprised of insufferable red carpet interviews, multiple montages (as always I look forward to the Memorial Tribute, even though it often disappoints), several speeches from behind-the-scenes technical category winners, and a multitude of musical numbers.
Rather than an endless prediction thread that will take 10 hours to write, I've decided to list my personal top 10 of last year, as well as the year's 5 worst films, and a few very guilty pleasures. 2010 wasn't a great year at the movies, but it was a solid one with many films that will eventually find their way onto my dvd shelf. One of the major perks of my job is access to free rentals, which I'm proud to say I took full advantage of. I watched 68 movies released in 2010 (about 1/2 of which would at least merit a recommendation), which averages to roughly 136 hours spent in front of the tv or in a dark theater. That represents slightly more than 5 full days of the year, which is actually lower than I would've guessed. I watch far less tv than I used to (living 20 straight months without cable will do that), but factoring in reruns, sporting events, and old movies, I'm sure the actual total is closer to 10 days, still not too shabby. 10/365 is only 2.7% of my breathing time, which to some might sound high, but I think I deserve a pat on the back. :) But enough with the unofficial statistics . . .
THIS SUCKS! It's 11:30 AM Oscar Sunday and I have to leave for work for most of the afternoon. I really need to work on my planning. Because it makes little sense to post the top paragraph after tonight's show, I'm gonna have to split this into a 2-parter. Sorry. The best films of 2010 will be forthcoming in part 2 (this week I swear). It will also provide an oppurtinity to criticize any particularly awful choices tonight.
Rather than an endless prediction thread that will take 10 hours to write, I've decided to list my personal top 10 of last year, as well as the year's 5 worst films, and a few very guilty pleasures. 2010 wasn't a great year at the movies, but it was a solid one with many films that will eventually find their way onto my dvd shelf. One of the major perks of my job is access to free rentals, which I'm proud to say I took full advantage of. I watched 68 movies released in 2010 (about 1/2 of which would at least merit a recommendation), which averages to roughly 136 hours spent in front of the tv or in a dark theater. That represents slightly more than 5 full days of the year, which is actually lower than I would've guessed. I watch far less tv than I used to (living 20 straight months without cable will do that), but factoring in reruns, sporting events, and old movies, I'm sure the actual total is closer to 10 days, still not too shabby. 10/365 is only 2.7% of my breathing time, which to some might sound high, but I think I deserve a pat on the back. :) But enough with the unofficial statistics . . .
THIS SUCKS! It's 11:30 AM Oscar Sunday and I have to leave for work for most of the afternoon. I really need to work on my planning. Because it makes little sense to post the top paragraph after tonight's show, I'm gonna have to split this into a 2-parter. Sorry. The best films of 2010 will be forthcoming in part 2 (this week I swear). It will also provide an oppurtinity to criticize any particularly awful choices tonight.
Thursday, January 6, 2011
Time to Say Good-Bye, Pt. II
Ok, it took longer than a couple of days to post again (in fact last night was the Super Bowl), but this is still an improvement. I hope everyone had a wonderful New Year's celebration and was able to take something memorable from the most overrated night on the calendar. T & I decided to stay in, play some games (she won all of them!), drink some wine, and chow down some h'orderves. We suffered through some bad television coverage from Carson Daly and Ryan Seacrest (both of whom continue to defy the odds by escaping unemployment), but on the whole it was a mellow night without incident. Considering my personal New Year's Eve history, that's saying something. Now let's get back to those we've lost, focusing on the world of sports, and beginning with the greatest fictional manager who ever lived:
James Gammon (70): Versatile character actor I'll always remember for his portrayal of Lou Brown, manager of the Cleveland Indians in the funniest baseball movie ever made, Major League ('89). Sometimes a memorable character is born through unique delivery of dialogue and Gammon's performance as the gruff, irritable former 'Tire World' employee goes down as one of my favorites ever! A few classically delivered favorite lines . . .
At lead-off man Willie Mays Hayes: "You may run like Hayes, but you hit like shit."
At pansy veteran Roger Dorn: "Come on Dorn get in front of the damn ball! Don't give me this "olé" bullshit!"
Regarding the press: "I'm not much for giving inspirational addresses, but I'd just like to point out that every newspaper in the country has picked us to finish last. The local press seems to think that we'd save everyone a lot of time and trouble if we, just went out and shot ourselves. Me, I'm for wasting sportswriters' time. So I figured we ought to hang around for a while and see if we can give 'em all a nice big shitburger to eat!"
And a personal favorite I use on a weekly basis, even though T never has any idea what I'm talking about: "Oh, this old body could use a soak."
Ok, now onto some real life athletes (excluding Brett Favre, whom I never need to hear about again):
Allen Iverson: Not officially retired, but after the NBA showed no interest, Iverson took his aging body to Besiktas in Turkey of all places, recently returning to the U.S. for surgery to remove a lesion from his leg. This would be a sad ending to one of the great careers in NBA history, but hopefully A.I. will be back.
Amir Vahidi (49): Is poker a sport? Not even I would admit that. But Vahidi left one of the largest impressions in the tournament (2003 WSOP) that brought no limit Texas hold 'em to the attention of the masses and helped spawn the poker boom.
Bobby Thomson (86): Best known for the famed "Shot Heard 'Round the World," his game winning 3-run homer that won the 1951 National League pennant for the Giants.
Bob Feller (92): Huge news in Cleveland when the pitching great died last month following a battle with leukemia. Despite losing four prime years to the Navy following the attack on Pearl Harbor, Feller threw 3 career no-hitters and an amazing 44 shutouts. He won 266 games with a 3.25 earned run average and is widely regarded as one of the best pitchers of all-time.
Chuck Daily (78): The Hall of Fame coach led the Detroit Pistons to back-to-back titles in the late 80s before coaching the original Dream Team to an Olympic gold medal in 1992. And my brother will forever believe he has a 'thing' for Patrick Ewing :)
Dom DiMaggio (92): Great center fielder who played his entire 11 year career for the Boston Red Sox. Despite playing in the shadow of teammate Ted Williams and older brother Joe, Dom earned a reputation as one of his era's finest lead-off men and defensive outfielders. Like Feller, DiMaggio lost prime years to the Navy, but the 7-time All-Star finished with a .298 career average, twice leading the American League in runs scored. He made the Red Sox Hall of Fame in 1995.
Don Meredith (72): My Dad was unusually melancholy when hearing of Meredith's death. The former Dallas Cowboys quarterback threw for over 17,000 career yards, but is probably best remembered for his work as part of the Monday Night Football broadcast crew opposite Howard Cosell and Frank Gifford.
George Steinbrenner (80) I absolutely hate the phrase "love to hate," because it's a media created inoffensive bullshit term meant to turn attention away from the fact that we actually hate people when we use it. ESPN.com started using it a few years ago with every single poll they posted. To clarify, I don't "love to hate" Reggie Miller. Rather the sheer site of his ugly, bald freak-face makes me want to gouge his eyes out and feed them to pigeons in the park. What does this have to do with Steinbrenner? Well, for a time I hated the renowned Yankees owner, mostly because for the better part of my life the Red Sox couldn't climb out from under his considerable shadow. But when we started emulating his outrageous spending formula and started winning World Series, it became a little easier to appreciate Steinbrenner's accomplishments (including 7 World Series titles), even if he stole his nickname from Bruce Springsteen. He also inspired a completely silly, incompetent bozo-version of himself, voiced by Larry David on Seinfeld.
John Wooden (99): Best basketball coach of all-time? I'll respectfully stick with Red Auerbach, but I wouldn't yell at anyone who gave the title to Wooden. He is indisputably the greatest collegiate athletic coach ever, winning 7 consecutive national championships at UCLA and 10 in 12 years! This period included an unthinkable 88-game winning streak featuring centers Kareem Abdul-Jabbar and Bill Walton.
Manute Bol (47): Perhaps the strangest looking athlete of all-time, the 7' 6" Sudanese-born center became one of the best shot-blockers in the history of the NBA. He often averaged more blocks than points per game, wore shoe size 16 1/2, and became an unlikely attraction for both serious and casual fans alike. He became a revered political activist following and during his basketball career.
Steve McNair (36): The longtime Tennessee Titans quarterback was tragically shot and killed by his mistress in one of the strangest news stories of 2009. McNair was the Titan's all-time leading passer, the NFL Co-MVP in 2003, and led his team against the St. Louis Rams in one of the most exciting Super Bowl finishes ever (2000).
Sparky Anderson (76): Hall of Fame manager who finished his career with 2,194 wins. Anderson won 3 World Series rings as manager, the 1st 2 coming back-to-back in the mid-70s with a historically great Cincinnati Reds team (the '75 series is regarded among the best ever). He added a 3rd championship in 1984 with the Detroit Tigers.
Wayman Tisdale (44): One of my favorite random basketball players of the last 20 years. Tisdale was a 3-time All-American at Oklahoma before becoming the 2nd overall pick in the 1985 NBA draft (Karl Malone went 13th, but whatever). A left-handed power forward, the extremely likeable Tisdale played his best years with the Sacramento Kings before retiring to focus on a jazz career. He just seemed like a cool guy. I'm convinced the writers of 1991's Strictly Business stole his name for their lead character, but it has never been proven.
And finally, 2 huge baseball retirements that flew far under the radar;
Ken Griffey Jr.: It's difficult to determine just how revered Griffey might've been had he stayed healthy. I honestly can't even remember the last time he was considered relevant (he left Seattle for Cincinnati over a decade ago!), which is a mixed blessing. On the one hand he avoided the steroid era and the resulting ugly cloud that looms over many of his contemporaries. His career basically split in two parts, the 1st historically great and the 2nd somewhat forgettable. Despite all the time missed he amassed 630 homeruns (5th all-time), 13 All-star selections, an MVP award, & 10 Gold Glove Awards (often cited as the finest defensive outfielder of the 90s). He was an icon embraced by younger baseball fans for his exuberance, his backwards cap, and a lefty swing considered the purest in baseball. I still remember his 1989 Upper Deck rookie card, a prized collection item. This year he played his last game without the fanfare surrounding several of his peers and despite his accomplishments it's easy to consider his career a disappointment in some respects. Injuries are the most frustrating limitators, because they are largely involuntary. Just know that when Griffey's name reaches the Hall of Fame ballot in 2015, his reception will be envied by the likes of Bonds, Clemens, McGwire, et al., who will themselves be wondering what might've been.
Nomar Garciaparra: 10 years ago I would've bet anything that Nomah would one day join a select list of Boston sports demigods named Russell, Teddy, Bobby, and Larry. The '97 AL Rookie of the Year has since been passed by guys named Brady, Papi, & Pierce. I still remember getting the phone call that Nomar had been traded while walking through Faneuil Hall that summer in 2004. Even though he'd clearly been unhappy with recent treatment relating to contract negotiations (at the time I agreed with him), it still seemed unthinkable that the Red Sox would part ways with the former back-to-back batting champion (he hit a ridiculous .357 & .372 in '99 & '00). Skeptics have suggested he was a victim of the famed Sports Illustrated curse, as a March 2001 cover featured a suddenly ripped Garciparra flexing topless. Indeed, just months after his trade to the Cubs, Boston broke the 86 year curse and won the World Series. Regardless, the nationwide debates over who was baseball's greatest shortstop (A-Rod, Nomar, & Derek Jeter) seem like a lifetime ago. At that time, the longtime Yankee routinely finished 3rd; today he's the only one who's a lock for Cooperstown. Last March Nomar signed a one-day contract with the Red Sox so he could retire with the franchise he considered home. I will always cheer Nomar Garciaparra.
And in the end . . . . .
Siskel & Ebert (At the Movies): The longtime movie review show disappeared quietly in 2010, sad news to all who appreciate the film going experience. When I was in High School I imagined one day becoming a professional film critic and even saved a computer document detailing short paragraph reviews of movies I saw in 1996 in particular (I remember thinking A Time to Kill and Independence Day were two of the best movies I'd seen to that point). From there I began writing the occasional review for Newton South's 'Denebola'. The interest continued sporadically in college, as I submitted a few reviews for the Trinity College 'Tripod,' all freshman year. If my motivation for writing full reviews dimmed, my enthusiasm for going to the movies did not, and today I remain as opinionated as ever. Chicago film critics Gene Siskel and Roger Ebert began their syndicated program in 1986 (they'd worked together since 1975 with 'Sneak Previews') and displayed great chemistry, despite arguing frequently. Their passion for their work was always evident and provided great entertainment for the rest of us, as well as smart recommendations. Their slogan "Two Thumbs Up/Down" became a legitimate barometer for how a film might perform critically and commercially. The pair also formed a close relationship with David Letterman, who regularly had them as guests. When Siskel died in 1999, Ebert kept the show going, eventually choosing another Chicago critic Richard Roeper, as his replacement. While not quite the same, the show continued to do well until Ebert too suffered health problems, leaving Roeper as the anchor. Since his departure the show featured substitute hosts both good (A.O.Scott & Michael Phillips) and bad (Ben Lyons & Ben Mankiewicz). After shuffling air dates and times repeatedly (when will network executives realize this is NEVER a good idea?), the show was cancelled, the finale airing on August 14th, 2010. Fortunately many of the greatest moments and reviews from Siskel & Ebert are available on YouTube for a younger generation to experience.
Dennis Hopper (74): One of the great psychotic actors of his generation, perhaps ever. After early appearances in a pair of James Dean films (Rebel without a Cause & Giant), Hopper shot to fame directing and co-starring in 1969's independent counterculture sensation Easy Rider, which also introduced the world to Jack Nicholson. The charismatic actor spent much of the next two decades battling drug abuse, though it often resulted in memorable performances. It's almost impossible not to believe he was on drugs as the motor-mouthed photojournalist in Apocalypse Now ('79), or most memorably as villain Frank Booth in Blue Velvet ('86). That same year he was Oscar-nominated for his terrific role as the alcoholic basketball fanatic Shooter in Hoosiers. The mid-90s brought a 2nd career revival with strong supporting turns in 1993's True Romance (his scene with Christopher Walken is a classic) and 1994's Speed as the mad bomber. He played another lunatic villain the next year in Waterworld. Hopper was also prolific on television for several decades, with appearances on Gunsmoke, Bonanza, The Twilight Zone, 24, Entourage, and most recently as the lead on the Starz network's Crash. In a business where too many actors are carbon copies of those who came before, Hopper was an original.
Leslie Nielsen (84): Whenever I need a pick-me-up, I YouTube (when did that become a verb?) the opening scene from The Naked Gun: From the Files of Police Squad! It's so great that I considered posting it illegally, as it features Nielsen's Lt. Frank Drebin spying on a meeting amongst the world's most infamous leaders before single-handedly beating the crap out of all of them, revealing his identity, and offering the warning, "And don't ever let me catch you guys in America!" The secret to Nielsen's success as a comic actor was his ability to keep a straight face in the midst of pure silliness. He delivered dialogue matter-of-factly, even lines as ridiculous as "Oh, and one more thing... I faked every orgasm!" following a fight with girlfriend Jane. It helped that Nielsen in fact started as a dramatic actor in the 1950s, appearing in dozens of serious TV and film roles over the next two decades. But the huge success of Airplane (1980) changed the trajectory of Nielsen's career, playing Dr. Rumack in the middle of a plane full of violently ill passengers. In that endlessly quotable comedy, several prominent actors (including Robert Stack and Lloyd Bridges) volunteered to play against type, leading to exchanges like this one . . .
Rumack: "Captain, how soon can you land?"
Captain Oveur: "I can't tell."
Rumack: "You can tell me. I'm a doctor."
The humor was so obvious that it could be as easily appreciated by an 8 year old as a 68 year old. By the end of the 80s Nielsen had become the face of movie spoofs (his hit franchise a spin-off of the cancelled 1982 show Police Squad, featuring many of the same characters and creative people), but it takes an actor of a certain genius to pull off what he did. From this perspective, Nielsen was no less valuable to comedy than Marlon Brando was to drama fifty years ago. If you don't believe me, try sitting through the latest offering from the Wayans Brothers, or better yet those awful Freidberg/Seltzer productions (Date Movie, Epic Movie, etc...). In the wrong hands, spoofs are often unwatchable. But Nielsen was the master of this subgenre, and warrants mention with the great comic actors of his time. Need more proof? I offer the all-time greatest rendition of the national anthem, and if my blog gets flagged, so be it . . . http://www.youtube.com/watch?v=poIRktlowCM
About a month ago T and I were boarding an airplane returning from New Orleans, and got stuck in line near the plane entrance. As I waited patiently, I considered leaning into the cockpit to say "I just wanted to tell you both good luck, we're all counting on you." I'm pretty sure they would've laughed (or arrested me). My money's on the former, but it wasn't worth the gamble.
LOST: In a year of notable television exits (Law & Order and 24 also ended in 2010), none drew the attention of ABC's Lost. The science-fiction drama which began in 2004 with the most expensive pilot ever green-lit soon became one of the most closely scrutinized programs in television history and for good reason. Created by J.J. Abrams, Jeffrey Lieber, & Damon Lindelof, the plot followed the survivors of Oceanic flight 815, which crash landed on a mysterious island en route from Sydney to Los Angeles. The show shifted between conflict and relationship building on the island with back stories in the normal lives for each of the dozens of characters. Meanwhile, questions regarding the enigmas and very existence of the island itself took hold of viewers and became a driving force of intrigue. The show's writing was often brilliant, as mysteries and apparent coincidences were used to explore deeper philosophies involving fate vs. free will. Jack (Matthew Fox) was often the moral center of the show, though the doctor's dependence on fact and logic often came to blows with Locke (Terry O'Quinn), who believed things happened for a reason. Locke probably goes down as one of the 5 most interesting television characters ever, although he wasn't alone. Viewers became so invested in the lives of Kate, Sawyer, Hurley, Desmond, Sayid, Jin, Sun, etc... that they forgave the occasional slip-up in credibility (whatever happened to Walt?). I myself preferred the show's first 3 seasons, which were far more survival-oriented than the last 3.
If there was a shade of disappointment after Lost ended (other than not being able to see it live - more on this in a minute), it's because for a while I thought it was on its way to become the greatest television show of all-time. It didn't quite get there for a few reasons, one being that the writers (Lindelof & Carlton Cuse) opened more mysteries than could reasonably be explained, even on an island that bended the rules. Once season 3 closed with a flash-forward (a fascinating idea at the time), the creators were essentially warning us that they might try anything. A questionable reliance on time travel almost lost (no pun intended) T and I during season 5, when relationships changed, the setting expanded to multiple decades, and we were forced to follow Faraday's notebook detailing the construction of an atomic bomb. For a show that was already 'out there,' it went way too far out there. Season 6 mellowed things a bit, though it brought a flash sideways to further confuse the issue and ended with questions of life, death, and purgatory (which itself led to debates over what the latter term meant, there were at least 5 phone calls on the issue).
Note: As I mentioned, we were unable to see the Lost finale live, which did untold damage to our opinion of the ending. We planned an evening around that night only to have it ruined by technical difficulties at ABC throughout greater Cleveland. The choppy broadcast skipped and froze, disregarding entire scenes, eventually leading to me screaming and turning it off. The local network was flooded with emails and calls from furious fans, prompting a public apology and subsequent re-airing a few days later, but the damage had been done. Seriously, where else besides Cleveland could this happen? We joke about the city being cursed following years of sports-related embarrassments (the latest being the Cavaliers breaking the all-time losing streak record in professional basketball with 24 STRAIGHT LOSSES!!!), but this was eerie. Did Lost have the power to choose not to broadcast itself? It's a spooky question and indeed just weeks ago the Mega Millions lottery featured 4 of 6 numbers matching the pattern Hurley became obsessed with on the show (4,8,15,16,23,42), leading to over 9,000 winners.
At the end of the day, trying to explain the show's plot to someone would only make me sound ridiculous for liking it in the first place (Um, it's about a murderous smoke monster, two opposing brothers with powers, a polar bear, betrayals, women who can't reproduce, drugs, bombs, curing the handicapped, a band called Drive Shaft, a love triangle, a soulless con-man, crazy French women, torture, visions, mysterious voices, poorly made rafts, submarines, wild hogs, and the dharma initiative). It's impossible to defend in this regard. But what stand out are the performances (one of the strongest ensembles in history), the ambitious writing, and the dramatic moments that had us glued to our television sets every week. Many series would be thrilled to have a memorable scene or two. Lost had dozens, from the pilot episode plane crash to the opening of the hatch, from Benjamin Linus' identity revelation to Juliet's fall, from Eko's showdown with Smokey to the boat explosion, to Charlie's drowning, a death scene that ranks with the greatest ever on TV or film. I don't remember another show that delivered on a more satisfying dramatic or emotional level, even if it did so inconsistently. And after rewatching the finale on DVD, I realized they really did find the right ending after all (each character remembering their lives on the island, plus the closing shot on Jack was perfect). In the end, television was better for having a phenomenon that not only entertained, but challenged the intellect. I may even watch it all over again and would encourage you to do the same.
See you next year
James Gammon (70): Versatile character actor I'll always remember for his portrayal of Lou Brown, manager of the Cleveland Indians in the funniest baseball movie ever made, Major League ('89). Sometimes a memorable character is born through unique delivery of dialogue and Gammon's performance as the gruff, irritable former 'Tire World' employee goes down as one of my favorites ever! A few classically delivered favorite lines . . .
At lead-off man Willie Mays Hayes: "You may run like Hayes, but you hit like shit."
At pansy veteran Roger Dorn: "Come on Dorn get in front of the damn ball! Don't give me this "olé" bullshit!"
Regarding the press: "I'm not much for giving inspirational addresses, but I'd just like to point out that every newspaper in the country has picked us to finish last. The local press seems to think that we'd save everyone a lot of time and trouble if we, just went out and shot ourselves. Me, I'm for wasting sportswriters' time. So I figured we ought to hang around for a while and see if we can give 'em all a nice big shitburger to eat!"
And a personal favorite I use on a weekly basis, even though T never has any idea what I'm talking about: "Oh, this old body could use a soak."
Ok, now onto some real life athletes (excluding Brett Favre, whom I never need to hear about again):
Allen Iverson: Not officially retired, but after the NBA showed no interest, Iverson took his aging body to Besiktas in Turkey of all places, recently returning to the U.S. for surgery to remove a lesion from his leg. This would be a sad ending to one of the great careers in NBA history, but hopefully A.I. will be back.
Amir Vahidi (49): Is poker a sport? Not even I would admit that. But Vahidi left one of the largest impressions in the tournament (2003 WSOP) that brought no limit Texas hold 'em to the attention of the masses and helped spawn the poker boom.
Bobby Thomson (86): Best known for the famed "Shot Heard 'Round the World," his game winning 3-run homer that won the 1951 National League pennant for the Giants.
Bob Feller (92): Huge news in Cleveland when the pitching great died last month following a battle with leukemia. Despite losing four prime years to the Navy following the attack on Pearl Harbor, Feller threw 3 career no-hitters and an amazing 44 shutouts. He won 266 games with a 3.25 earned run average and is widely regarded as one of the best pitchers of all-time.
Chuck Daily (78): The Hall of Fame coach led the Detroit Pistons to back-to-back titles in the late 80s before coaching the original Dream Team to an Olympic gold medal in 1992. And my brother will forever believe he has a 'thing' for Patrick Ewing :)
Dom DiMaggio (92): Great center fielder who played his entire 11 year career for the Boston Red Sox. Despite playing in the shadow of teammate Ted Williams and older brother Joe, Dom earned a reputation as one of his era's finest lead-off men and defensive outfielders. Like Feller, DiMaggio lost prime years to the Navy, but the 7-time All-Star finished with a .298 career average, twice leading the American League in runs scored. He made the Red Sox Hall of Fame in 1995.
Don Meredith (72): My Dad was unusually melancholy when hearing of Meredith's death. The former Dallas Cowboys quarterback threw for over 17,000 career yards, but is probably best remembered for his work as part of the Monday Night Football broadcast crew opposite Howard Cosell and Frank Gifford.
George Steinbrenner (80) I absolutely hate the phrase "love to hate," because it's a media created inoffensive bullshit term meant to turn attention away from the fact that we actually hate people when we use it. ESPN.com started using it a few years ago with every single poll they posted. To clarify, I don't "love to hate" Reggie Miller. Rather the sheer site of his ugly, bald freak-face makes me want to gouge his eyes out and feed them to pigeons in the park. What does this have to do with Steinbrenner? Well, for a time I hated the renowned Yankees owner, mostly because for the better part of my life the Red Sox couldn't climb out from under his considerable shadow. But when we started emulating his outrageous spending formula and started winning World Series, it became a little easier to appreciate Steinbrenner's accomplishments (including 7 World Series titles), even if he stole his nickname from Bruce Springsteen. He also inspired a completely silly, incompetent bozo-version of himself, voiced by Larry David on Seinfeld.
John Wooden (99): Best basketball coach of all-time? I'll respectfully stick with Red Auerbach, but I wouldn't yell at anyone who gave the title to Wooden. He is indisputably the greatest collegiate athletic coach ever, winning 7 consecutive national championships at UCLA and 10 in 12 years! This period included an unthinkable 88-game winning streak featuring centers Kareem Abdul-Jabbar and Bill Walton.
Manute Bol (47): Perhaps the strangest looking athlete of all-time, the 7' 6" Sudanese-born center became one of the best shot-blockers in the history of the NBA. He often averaged more blocks than points per game, wore shoe size 16 1/2, and became an unlikely attraction for both serious and casual fans alike. He became a revered political activist following and during his basketball career.
Steve McNair (36): The longtime Tennessee Titans quarterback was tragically shot and killed by his mistress in one of the strangest news stories of 2009. McNair was the Titan's all-time leading passer, the NFL Co-MVP in 2003, and led his team against the St. Louis Rams in one of the most exciting Super Bowl finishes ever (2000).
Sparky Anderson (76): Hall of Fame manager who finished his career with 2,194 wins. Anderson won 3 World Series rings as manager, the 1st 2 coming back-to-back in the mid-70s with a historically great Cincinnati Reds team (the '75 series is regarded among the best ever). He added a 3rd championship in 1984 with the Detroit Tigers.
Wayman Tisdale (44): One of my favorite random basketball players of the last 20 years. Tisdale was a 3-time All-American at Oklahoma before becoming the 2nd overall pick in the 1985 NBA draft (Karl Malone went 13th, but whatever). A left-handed power forward, the extremely likeable Tisdale played his best years with the Sacramento Kings before retiring to focus on a jazz career. He just seemed like a cool guy. I'm convinced the writers of 1991's Strictly Business stole his name for their lead character, but it has never been proven.
And finally, 2 huge baseball retirements that flew far under the radar;
Ken Griffey Jr.: It's difficult to determine just how revered Griffey might've been had he stayed healthy. I honestly can't even remember the last time he was considered relevant (he left Seattle for Cincinnati over a decade ago!), which is a mixed blessing. On the one hand he avoided the steroid era and the resulting ugly cloud that looms over many of his contemporaries. His career basically split in two parts, the 1st historically great and the 2nd somewhat forgettable. Despite all the time missed he amassed 630 homeruns (5th all-time), 13 All-star selections, an MVP award, & 10 Gold Glove Awards (often cited as the finest defensive outfielder of the 90s). He was an icon embraced by younger baseball fans for his exuberance, his backwards cap, and a lefty swing considered the purest in baseball. I still remember his 1989 Upper Deck rookie card, a prized collection item. This year he played his last game without the fanfare surrounding several of his peers and despite his accomplishments it's easy to consider his career a disappointment in some respects. Injuries are the most frustrating limitators, because they are largely involuntary. Just know that when Griffey's name reaches the Hall of Fame ballot in 2015, his reception will be envied by the likes of Bonds, Clemens, McGwire, et al., who will themselves be wondering what might've been.
Nomar Garciaparra: 10 years ago I would've bet anything that Nomah would one day join a select list of Boston sports demigods named Russell, Teddy, Bobby, and Larry. The '97 AL Rookie of the Year has since been passed by guys named Brady, Papi, & Pierce. I still remember getting the phone call that Nomar had been traded while walking through Faneuil Hall that summer in 2004. Even though he'd clearly been unhappy with recent treatment relating to contract negotiations (at the time I agreed with him), it still seemed unthinkable that the Red Sox would part ways with the former back-to-back batting champion (he hit a ridiculous .357 & .372 in '99 & '00). Skeptics have suggested he was a victim of the famed Sports Illustrated curse, as a March 2001 cover featured a suddenly ripped Garciparra flexing topless. Indeed, just months after his trade to the Cubs, Boston broke the 86 year curse and won the World Series. Regardless, the nationwide debates over who was baseball's greatest shortstop (A-Rod, Nomar, & Derek Jeter) seem like a lifetime ago. At that time, the longtime Yankee routinely finished 3rd; today he's the only one who's a lock for Cooperstown. Last March Nomar signed a one-day contract with the Red Sox so he could retire with the franchise he considered home. I will always cheer Nomar Garciaparra.
And in the end . . . . .
Siskel & Ebert (At the Movies): The longtime movie review show disappeared quietly in 2010, sad news to all who appreciate the film going experience. When I was in High School I imagined one day becoming a professional film critic and even saved a computer document detailing short paragraph reviews of movies I saw in 1996 in particular (I remember thinking A Time to Kill and Independence Day were two of the best movies I'd seen to that point). From there I began writing the occasional review for Newton South's 'Denebola'. The interest continued sporadically in college, as I submitted a few reviews for the Trinity College 'Tripod,' all freshman year. If my motivation for writing full reviews dimmed, my enthusiasm for going to the movies did not, and today I remain as opinionated as ever. Chicago film critics Gene Siskel and Roger Ebert began their syndicated program in 1986 (they'd worked together since 1975 with 'Sneak Previews') and displayed great chemistry, despite arguing frequently. Their passion for their work was always evident and provided great entertainment for the rest of us, as well as smart recommendations. Their slogan "Two Thumbs Up/Down" became a legitimate barometer for how a film might perform critically and commercially. The pair also formed a close relationship with David Letterman, who regularly had them as guests. When Siskel died in 1999, Ebert kept the show going, eventually choosing another Chicago critic Richard Roeper, as his replacement. While not quite the same, the show continued to do well until Ebert too suffered health problems, leaving Roeper as the anchor. Since his departure the show featured substitute hosts both good (A.O.Scott & Michael Phillips) and bad (Ben Lyons & Ben Mankiewicz). After shuffling air dates and times repeatedly (when will network executives realize this is NEVER a good idea?), the show was cancelled, the finale airing on August 14th, 2010. Fortunately many of the greatest moments and reviews from Siskel & Ebert are available on YouTube for a younger generation to experience.
Dennis Hopper (74): One of the great psychotic actors of his generation, perhaps ever. After early appearances in a pair of James Dean films (Rebel without a Cause & Giant), Hopper shot to fame directing and co-starring in 1969's independent counterculture sensation Easy Rider, which also introduced the world to Jack Nicholson. The charismatic actor spent much of the next two decades battling drug abuse, though it often resulted in memorable performances. It's almost impossible not to believe he was on drugs as the motor-mouthed photojournalist in Apocalypse Now ('79), or most memorably as villain Frank Booth in Blue Velvet ('86). That same year he was Oscar-nominated for his terrific role as the alcoholic basketball fanatic Shooter in Hoosiers. The mid-90s brought a 2nd career revival with strong supporting turns in 1993's True Romance (his scene with Christopher Walken is a classic) and 1994's Speed as the mad bomber. He played another lunatic villain the next year in Waterworld. Hopper was also prolific on television for several decades, with appearances on Gunsmoke, Bonanza, The Twilight Zone, 24, Entourage, and most recently as the lead on the Starz network's Crash. In a business where too many actors are carbon copies of those who came before, Hopper was an original.
Leslie Nielsen (84): Whenever I need a pick-me-up, I YouTube (when did that become a verb?) the opening scene from The Naked Gun: From the Files of Police Squad! It's so great that I considered posting it illegally, as it features Nielsen's Lt. Frank Drebin spying on a meeting amongst the world's most infamous leaders before single-handedly beating the crap out of all of them, revealing his identity, and offering the warning, "And don't ever let me catch you guys in America!" The secret to Nielsen's success as a comic actor was his ability to keep a straight face in the midst of pure silliness. He delivered dialogue matter-of-factly, even lines as ridiculous as "Oh, and one more thing... I faked every orgasm!" following a fight with girlfriend Jane. It helped that Nielsen in fact started as a dramatic actor in the 1950s, appearing in dozens of serious TV and film roles over the next two decades. But the huge success of Airplane (1980) changed the trajectory of Nielsen's career, playing Dr. Rumack in the middle of a plane full of violently ill passengers. In that endlessly quotable comedy, several prominent actors (including Robert Stack and Lloyd Bridges) volunteered to play against type, leading to exchanges like this one . . .
Rumack: "Captain, how soon can you land?"
Captain Oveur: "I can't tell."
Rumack: "You can tell me. I'm a doctor."
The humor was so obvious that it could be as easily appreciated by an 8 year old as a 68 year old. By the end of the 80s Nielsen had become the face of movie spoofs (his hit franchise a spin-off of the cancelled 1982 show Police Squad, featuring many of the same characters and creative people), but it takes an actor of a certain genius to pull off what he did. From this perspective, Nielsen was no less valuable to comedy than Marlon Brando was to drama fifty years ago. If you don't believe me, try sitting through the latest offering from the Wayans Brothers, or better yet those awful Freidberg/Seltzer productions (Date Movie, Epic Movie, etc...). In the wrong hands, spoofs are often unwatchable. But Nielsen was the master of this subgenre, and warrants mention with the great comic actors of his time. Need more proof? I offer the all-time greatest rendition of the national anthem, and if my blog gets flagged, so be it . . . http://www.youtube.com/watch?v=poIRktlowCM
About a month ago T and I were boarding an airplane returning from New Orleans, and got stuck in line near the plane entrance. As I waited patiently, I considered leaning into the cockpit to say "I just wanted to tell you both good luck, we're all counting on you." I'm pretty sure they would've laughed (or arrested me). My money's on the former, but it wasn't worth the gamble.
LOST: In a year of notable television exits (Law & Order and 24 also ended in 2010), none drew the attention of ABC's Lost. The science-fiction drama which began in 2004 with the most expensive pilot ever green-lit soon became one of the most closely scrutinized programs in television history and for good reason. Created by J.J. Abrams, Jeffrey Lieber, & Damon Lindelof, the plot followed the survivors of Oceanic flight 815, which crash landed on a mysterious island en route from Sydney to Los Angeles. The show shifted between conflict and relationship building on the island with back stories in the normal lives for each of the dozens of characters. Meanwhile, questions regarding the enigmas and very existence of the island itself took hold of viewers and became a driving force of intrigue. The show's writing was often brilliant, as mysteries and apparent coincidences were used to explore deeper philosophies involving fate vs. free will. Jack (Matthew Fox) was often the moral center of the show, though the doctor's dependence on fact and logic often came to blows with Locke (Terry O'Quinn), who believed things happened for a reason. Locke probably goes down as one of the 5 most interesting television characters ever, although he wasn't alone. Viewers became so invested in the lives of Kate, Sawyer, Hurley, Desmond, Sayid, Jin, Sun, etc... that they forgave the occasional slip-up in credibility (whatever happened to Walt?). I myself preferred the show's first 3 seasons, which were far more survival-oriented than the last 3.
If there was a shade of disappointment after Lost ended (other than not being able to see it live - more on this in a minute), it's because for a while I thought it was on its way to become the greatest television show of all-time. It didn't quite get there for a few reasons, one being that the writers (Lindelof & Carlton Cuse) opened more mysteries than could reasonably be explained, even on an island that bended the rules. Once season 3 closed with a flash-forward (a fascinating idea at the time), the creators were essentially warning us that they might try anything. A questionable reliance on time travel almost lost (no pun intended) T and I during season 5, when relationships changed, the setting expanded to multiple decades, and we were forced to follow Faraday's notebook detailing the construction of an atomic bomb. For a show that was already 'out there,' it went way too far out there. Season 6 mellowed things a bit, though it brought a flash sideways to further confuse the issue and ended with questions of life, death, and purgatory (which itself led to debates over what the latter term meant, there were at least 5 phone calls on the issue).
Note: As I mentioned, we were unable to see the Lost finale live, which did untold damage to our opinion of the ending. We planned an evening around that night only to have it ruined by technical difficulties at ABC throughout greater Cleveland. The choppy broadcast skipped and froze, disregarding entire scenes, eventually leading to me screaming and turning it off. The local network was flooded with emails and calls from furious fans, prompting a public apology and subsequent re-airing a few days later, but the damage had been done. Seriously, where else besides Cleveland could this happen? We joke about the city being cursed following years of sports-related embarrassments (the latest being the Cavaliers breaking the all-time losing streak record in professional basketball with 24 STRAIGHT LOSSES!!!), but this was eerie. Did Lost have the power to choose not to broadcast itself? It's a spooky question and indeed just weeks ago the Mega Millions lottery featured 4 of 6 numbers matching the pattern Hurley became obsessed with on the show (4,8,15,16,23,42), leading to over 9,000 winners.
At the end of the day, trying to explain the show's plot to someone would only make me sound ridiculous for liking it in the first place (Um, it's about a murderous smoke monster, two opposing brothers with powers, a polar bear, betrayals, women who can't reproduce, drugs, bombs, curing the handicapped, a band called Drive Shaft, a love triangle, a soulless con-man, crazy French women, torture, visions, mysterious voices, poorly made rafts, submarines, wild hogs, and the dharma initiative). It's impossible to defend in this regard. But what stand out are the performances (one of the strongest ensembles in history), the ambitious writing, and the dramatic moments that had us glued to our television sets every week. Many series would be thrilled to have a memorable scene or two. Lost had dozens, from the pilot episode plane crash to the opening of the hatch, from Benjamin Linus' identity revelation to Juliet's fall, from Eko's showdown with Smokey to the boat explosion, to Charlie's drowning, a death scene that ranks with the greatest ever on TV or film. I don't remember another show that delivered on a more satisfying dramatic or emotional level, even if it did so inconsistently. And after rewatching the finale on DVD, I realized they really did find the right ending after all (each character remembering their lives on the island, plus the closing shot on Jack was perfect). In the end, television was better for having a phenomenon that not only entertained, but challenged the intellect. I may even watch it all over again and would encourage you to do the same.
See you next year
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