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In 1975, when the SNL first aired, Howard Cosell had his own show by the name of \u003cb>Saturday Night Live\u003c/b>. The program started as more of a variety show than a sketch comedy show. Along with the now-famous cast, each episode had a short film by Albert Brooks, a running sketch by Jim Henson’s Muppets like you’ve never seen them before or since, and more performances by the hosts and musical guests. Rather than being wall to wall sketches, the show was a mix of viewing entertainment. \u003c/p>\n\u003cp>The first disc contains episodes the first three episodes. George Carlin builds the first episode around his now-classic standup routines, including the differences between baseball and football; it’s prime Carlin. In Episode Two, Paul Simon leaves little time for the cast members as he plays songs alone and with Art Garfunkel, and Garfunkel performs a solo number. Simon then plays a game of one on one with basketball legend Connie Hawkins. It’s quality viewing, but there’s little humor, frankly.\u003c/p>\n\u003cp>The second disc, which contains the next three episodes, picks up a lot of steam and is a harbinger of things to come. A recurring sketch about a land shark, a shark that prowls the hallways of New York City apartments appears, outshines the guest hosts and is hilarious. Candace Bergen, Lily Tomlin, and Robert Klein take the show in a funnier direction and interact with the cast much more than the hosts of the first three episodes. But most importantly, we get to see the comedic talents of Gilda Radner and John Belushi emerge as the real stars of the show. Chevy Chase’s news reporting takes shape, and provides a foundation for the centerpiece of the show that remains to this day.\u003c/p>\n\u003cp>I was hoping to be able to review all the discs, but they are in high demand and they didn’t all come this week. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>With every season of \u003cb>Saturday Night Live\u003c/b>, viewers say it wasn’t as good as it used to be. But what do we really have to compare it to? Many viewers of the current seasons are younger than the show itself. Are we always comparing this season to the first season we personally watched? Season One of \u003cb>Saturday Night Live\u003c/b> came out on DVD this week, and if you’re at all a fan of sketch comedy, you definitely should check this out. It’s an eight disc set of all the original episodes, uncut. Each disc has three episodes, each episode a little more than an hour in length without the commercials. Now’s our chance to compare the current show to its origin.\u003c/p>\n\u003cp>The show was remarkably different than it is now. Even the credits call it “\u003cb>NBC’s Saturday Night\u003c/b>,” not \u003cb>Saturday Night Live\u003c/b>. In 1975, when the SNL first aired, Howard Cosell had his own show by the name of \u003cb>Saturday Night Live\u003c/b>. The program started as more of a variety show than a sketch comedy show. Along with the now-famous cast, each episode had a short film by Albert Brooks, a running sketch by Jim Henson’s Muppets like you’ve never seen them before or since, and more performances by the hosts and musical guests. Rather than being wall to wall sketches, the show was a mix of viewing entertainment. \u003c/p>\n\u003cp>The first disc contains episodes the first three episodes. George Carlin builds the first episode around his now-classic standup routines, including the differences between baseball and football; it’s prime Carlin. In Episode Two, Paul Simon leaves little time for the cast members as he plays songs alone and with Art Garfunkel, and Garfunkel performs a solo number. Simon then plays a game of one on one with basketball legend Connie Hawkins. It’s quality viewing, but there’s little humor, frankly.\u003c/p>\n\u003cp>The second disc, which contains the next three episodes, picks up a lot of steam and is a harbinger of things to come. A recurring sketch about a land shark, a shark that prowls the hallways of New York City apartments appears, outshines the guest hosts and is hilarious. Candace Bergen, Lily Tomlin, and Robert Klein take the show in a funnier direction and interact with the cast much more than the hosts of the first three episodes. But most importantly, we get to see the comedic talents of Gilda Radner and John Belushi emerge as the real stars of the show. Chevy Chase’s news reporting takes shape, and provides a foundation for the centerpiece of the show that remains to this day.\u003c/p>\n\u003cp>I was hoping to be able to review all the discs, but they are in high demand and they didn’t all come this week. I’ll be reviewing each disc as it arrives separately rather than do an overall season review as I do with most of the TV shows. There’s too much to each show to wrap it up cleanly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hopefully, we’ll get a new set of each season, at least through the early years. Along with \u003cb>Monty Python’s Flying Circus\u003c/b>, \u003cb>SNL\u003c/b> is one of the two most influential early sketch shows in TV history. The ancestral lineage of every sketch show that has since aired will lead back to one of these two series. At a suggested retail of close to 70 dollars, this package would make a nice last minute X-mas gift. If it’s out of your price range or you’re not that committed, it’s definitely worth the rental.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There is more than one film I’d like to recommend out of this week’s batch. \u003cb>Rise Above: The Tribe 8 Documentary\u003c/b> catches one of San Francisco’s most notorious punk bands. The Jerry Stiller vehicle \u003cb>The Independent\u003c/b> is an under-the-radar satire of Hollywood. \u003cb>The Outlaw Josey Wales\u003c/b> is a prime Clint Eastwood Western. But \u003cb>The Missouri Breaks\u003c/b> has not one, but two great performances by the enigmatic Jack Nicholson and Marlon Brando and that’s my pick.\u003c/p>\n\u003cp>\u003cb>The Missouri Breaks\u003c/b> is one of those films that has top notch talent at every level. The script was written by Thomas McGuane, a famous Montana novelist; the “Missouri” in the title refers to the river which stretches through Montana on its way to the Mississippi River. Arthur Penn, a veteran of Westerns and a three time Oscar winner directed. Jack Nicholson, fresh off \u003cb>One Flew Over the Cuckoo’s Nest\u003c/b>, stars as the anti-hero protagonist. Marlon Brando, clearly nutty by 1976, but not yet as far gone as he would become, plays the antagonist. Also in the cast are Randy Quaid and Harry Dean Stanton.\u003c/p>\n\u003cp>Nicholson plays Tom Logan, a horse thief with an eye for The Big Score. So far, no one has found out that he and his gang are the ones who have already stolen a number of horses. The local horse rancher, knowing he’ll likely be hit next, hires a “regulator,” Robert E. Lee Clayton, played by Brando, to resolve the situation. Brando’s performance is nothing if not bizarre. I’ve never seen a character like his in any other Western.\u003c/p>\n\u003cp>Where the film really succeeds is in its refusal to take sides with Logan or Clayton. Both characters are equally compelling and crafty. It’s impossible to tell who’s going to come out on top until the film ends. The conflict between the two characters is a true clash of the titans. In my imagination, it was much like watching a well-spoken monster film. Queue it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched two of the \u003cb>Saturday Night Live\u003c/b> discs this week. They’re each a little over 3 hours long, which slowed me down a bit. With all the holiday parties and whatnot, I’m really surprised that I got to 10 DVDs this week. 477 DVDs in 344 days. 23 DVDs left in the next 21 days for a pace of 7.66 per week. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>\nThere are plenty of remakes out there, but few movies have been remade twice. There’s \u003cb>Here Comes Mr. Jordan/Heaven Can Wait/Down to Earth\u003c/b>, starring Robert Montgomery/Warren Beatty/Chris Rock. The only other one I know of is \u003cb>A Star is Born\u003c/b>. The 1976 Barbra Streisand version came out this past Tuesday on DVD, so I thought it would be a good time to rewatch the 1954 Judy Garland film, which I haven’t seen in its restored version, and the 1937 version with Janet Gaynor which I have never seen before.\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1937)\u003cbr>\nJanet Gaynor and Frederic March star. Janet Gaynor is a small town girl who dreams of moving to Hollywood and getting into motion pictures. Her Granny puts her on the train and sends her off. When Gaynor gets to Hollywood, she is thrilled at the sight of Harold Lloyd’s footprints at Mann’s Chinese theater. This film is so old those are the only footprints there. (Not really.) She rents a room for six dollars a week, and goes to central casting to sign up for extra work. But in the middle of the depression, there’s not work to be had. But she does get a gig serving hors d’oeuvres at a soiree full of producers. Can she get noticed?\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1954)\u003cbr>\nMy favorite of the three. Judy Garland stars as a barely working song-and-dance type who meets James Mason, the peaking movie star. He promises to get her a screen test, but will he follow through? Garland was only in her early thirties, but this was considered her comeback film as MGM had cancelled her contract and Warner had to be convinced to produce this film, which clocked in at 3 hours. Thirty minutes were cut, some of which was lost forever. The special edition DVD includes the original soundtrack, but some of the visuals are recreated using continuity stills. The idea that a film like this doesn’t exist anymore in its original state horrifies all film nerds. This film is on many “all-time” lists, and may be Garland’s best performance.\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1976)\u003cbr>\nBarbra Streisand is a nightclub singer who’s discovered by out-of-control rock and roller Kris Kristofferson. They try to make it as a couple, but his life is all sex, drugs, and Gary Busey. This is a bit of a twist on the first two, as it moves from the world of movies and musicals to arena rock.\u003c/p>\n\u003cp>Streisand picked this up as a vehicle for herself. Originally, she wanted Elvis to play opposite her. Elvis’ last film hadn’t released a new film since 1969. Appearing in this film would’ve frighteningly predicted Elvis’ demise. Elvis wanted to do it, but Colonel Tom Parker nixed the idea for reasons that aren’t clear. Some say it was a power move that he pulled on Barbra since she asked Elvis first without consulting his management. Others say that Elvis was physically incapable by this point of keeping up with a rigorous film schedule.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Spoiler Alert!\u003c/b> I want to discuss the third act of the film, so if you don’t know how it ends, stop reading this post now.\u003c/p>\n\u003cp>When the male lead in each film realizes his career is over, he commits suicide. Frederic March, like a true man, swims into the sunset, in a beautiful shot, which, in the early days of color film, must’ve blown a few minds in the theater. But James Mason WALKS into the ocean, straight into the waves, never swimming, but steadfastly and stubbornly accepting his death. Kris Kristofferson, however, drives drunk down a country road until he wrecks. In this third version, it’s not implied that he killed himself, but it’s not denied either. We’re left with a vague automobile crash. It’s my only real problem with this third version. Each man, when faced with his failure, resolutely kills himself. With the unclear death of Kristofferson, the ending’s cinematic power is muted.\u003c/p>\n\u003cp>One of my favorite scenes in the 1937 version is when March storms the stage at the Oscar ceremony and demands the Oscar for Worst Performance. While Mason kicks up a fuss, the 1954 version’s scene isn’t nearly as powerful. But Kristofferson brings it home, demanding the Grammy for Worst Performance in sight of a horrified Tony Orlando.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\n\u003cb>Easy Rider\u003c/b> is commonly misreferenced as Jack Nicholsen’s first film. His first film was actually \u003cb>The Cry Baby Killer\u003c/b>, a 1960 Roger Corman B picture that runs just over one hour, thanks to a classic Corman long title sequence. Nicholsen plays a young man who gets involved in a nasty scrape with some nogoodniks, and resultantly ends up holed up with three hostages. It’s an early look at the way the media portrays crime and the police. It’s a must-see if you’re a Nicholsen or a Corman fan, and it has not been available on DVD until now.\u003c/p>\n\u003cp>Also included on the disc is \u003cb>Little Shop of Horrors\u003c/b>, a film Corman shot in two days, with Nicholsen as a masochistic dental patient.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI knocked out 12 this week. I’m getting well ahead. I doubt I’ll get that many in this coming week, if the \u003cb>Saturday Night Live\u003c/b> DVDs come in. Season one releases on Tuesday, and it’s an 8 disc set.\u003c/p>\n\u003cp>12 DVDs this week. 467 DVDs in 337 days. 33 DVDs left in the next 28 days for a pace of 8.24 per week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 33 days, 19 hours, 7 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />There are plenty of remakes out there, but few movies have been remade twice. There's \u003cb>Here Comes Mr. Jordan/Heaven Can Wait/Down to Earth\u003c/b>, starring Robert Montgomery/Warren Beatty/Chris Rock. The only other one I know of is \u003cb>A Star is Born\u003c/b>. The 1976 Barbra Streisand version came out this past Tuesday on DVD, so I thought it would be a good time to rewatch the 1954 Judy Garland film, which I haven't seen in its restored version, and the 1937 version with Janet Gaynor which I have never seen before. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>\nThere are plenty of remakes out there, but few movies have been remade twice. There’s \u003cb>Here Comes Mr. Jordan/Heaven Can Wait/Down to Earth\u003c/b>, starring Robert Montgomery/Warren Beatty/Chris Rock. The only other one I know of is \u003cb>A Star is Born\u003c/b>. The 1976 Barbra Streisand version came out this past Tuesday on DVD, so I thought it would be a good time to rewatch the 1954 Judy Garland film, which I haven’t seen in its restored version, and the 1937 version with Janet Gaynor which I have never seen before.\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1937)\u003cbr>\nJanet Gaynor and Frederic March star. Janet Gaynor is a small town girl who dreams of moving to Hollywood and getting into motion pictures. Her Granny puts her on the train and sends her off. When Gaynor gets to Hollywood, she is thrilled at the sight of Harold Lloyd’s footprints at Mann’s Chinese theater. This film is so old those are the only footprints there. (Not really.) She rents a room for six dollars a week, and goes to central casting to sign up for extra work. But in the middle of the depression, there’s not work to be had. But she does get a gig serving hors d’oeuvres at a soiree full of producers. Can she get noticed?\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1954)\u003cbr>\nMy favorite of the three. Judy Garland stars as a barely working song-and-dance type who meets James Mason, the peaking movie star. He promises to get her a screen test, but will he follow through? Garland was only in her early thirties, but this was considered her comeback film as MGM had cancelled her contract and Warner had to be convinced to produce this film, which clocked in at 3 hours. Thirty minutes were cut, some of which was lost forever. The special edition DVD includes the original soundtrack, but some of the visuals are recreated using continuity stills. The idea that a film like this doesn’t exist anymore in its original state horrifies all film nerds. This film is on many “all-time” lists, and may be Garland’s best performance.\u003c/p>\n\u003cp>\u003cb>A Star is Born\u003c/b> (1976)\u003cbr>\nBarbra Streisand is a nightclub singer who’s discovered by out-of-control rock and roller Kris Kristofferson. They try to make it as a couple, but his life is all sex, drugs, and Gary Busey. This is a bit of a twist on the first two, as it moves from the world of movies and musicals to arena rock.\u003c/p>\n\u003cp>Streisand picked this up as a vehicle for herself. Originally, she wanted Elvis to play opposite her. Elvis’ last film hadn’t released a new film since 1969. Appearing in this film would’ve frighteningly predicted Elvis’ demise. Elvis wanted to do it, but Colonel Tom Parker nixed the idea for reasons that aren’t clear. Some say it was a power move that he pulled on Barbra since she asked Elvis first without consulting his management. Others say that Elvis was physically incapable by this point of keeping up with a rigorous film schedule.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Spoiler Alert!\u003c/b> I want to discuss the third act of the film, so if you don’t know how it ends, stop reading this post now.\u003c/p>\n\u003cp>When the male lead in each film realizes his career is over, he commits suicide. Frederic March, like a true man, swims into the sunset, in a beautiful shot, which, in the early days of color film, must’ve blown a few minds in the theater. But James Mason WALKS into the ocean, straight into the waves, never swimming, but steadfastly and stubbornly accepting his death. Kris Kristofferson, however, drives drunk down a country road until he wrecks. In this third version, it’s not implied that he killed himself, but it’s not denied either. We’re left with a vague automobile crash. It’s my only real problem with this third version. Each man, when faced with his failure, resolutely kills himself. With the unclear death of Kristofferson, the ending’s cinematic power is muted.\u003c/p>\n\u003cp>One of my favorite scenes in the 1937 version is when March storms the stage at the Oscar ceremony and demands the Oscar for Worst Performance. While Mason kicks up a fuss, the 1954 version’s scene isn’t nearly as powerful. But Kristofferson brings it home, demanding the Grammy for Worst Performance in sight of a horrified Tony Orlando.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\n\u003cb>Easy Rider\u003c/b> is commonly misreferenced as Jack Nicholsen’s first film. His first film was actually \u003cb>The Cry Baby Killer\u003c/b>, a 1960 Roger Corman B picture that runs just over one hour, thanks to a classic Corman long title sequence. Nicholsen plays a young man who gets involved in a nasty scrape with some nogoodniks, and resultantly ends up holed up with three hostages. It’s an early look at the way the media portrays crime and the police. It’s a must-see if you’re a Nicholsen or a Corman fan, and it has not been available on DVD until now.\u003c/p>\n\u003cp>Also included on the disc is \u003cb>Little Shop of Horrors\u003c/b>, a film Corman shot in two days, with Nicholsen as a masochistic dental patient.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI knocked out 12 this week. I’m getting well ahead. I doubt I’ll get that many in this coming week, if the \u003cb>Saturday Night Live\u003c/b> DVDs come in. Season one releases on Tuesday, and it’s an 8 disc set.\u003c/p>\n\u003cp>12 DVDs this week. 467 DVDs in 337 days. 33 DVDs left in the next 28 days for a pace of 8.24 per week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 33 days, 19 hours, 7 minutes\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you want to know why the human race hasn’t banded together to battle the AIDS epidemic, then you should see \u003cb>3 Needles\u003c/b>. The root causes of the virus’s basically unchecked spread are economic. There is money to be made in blood and there are people ruthless enough, thoughtless enough and careless enough to make it. The three needles of the title are located in a rural Chinese village, Montreal’s porn industry and a South African plantation, and are (inexplicably) divided by religion — Buddhist, Catholic and Pagan.\u003c/p>\n\u003cp>The film opens at a distance. An African coming of age ceremony culminates with the ritual circumcision of a group of young men. The first blood is spilled. From there we move to the “Buddhists,” following Ping (Lucy Liu), a young woman who travels rural China, setting up clinics in small villages to collect blood for the black market. When she turns away a young man who has the sniffles, he volunteers his daughters arm, selling her blood weekly and investing the money in his small rice farm. After awhile people in the village begin to get sick and Ping closes down the clinic and moves on. It isn’t the first time this has happened. Ping and her husband are like vampires, first creating villages of the undead and then whole populations of the dead. The final blow to the small community is delivered by the government when it is finally moved to investigate the outbreak. While giving blood paid $5, testing costs $10.\u003c/p>\n\u003cp>In the “Catholic” section of the film, porn actor Denys (Shawn Ashmore) fears he has HIV and begins faking his tests. In order to maintain the health of their actors, the porn industry has mandated testing every two weeks. Denys ends up infecting his colleagues and devastating the Montreal porn industry. Once his mother (Stockard Channing) discovers her son’s situation, she decides to game the insurance industry to get enough money to insure a secure future for her son.\u003c/p>\n\u003cp>In Africa, among the “Pagans,” a zealous nun (Chloe Sevigny) attempts to care for the ill (and bring them to God before it’s too late), while raising a group of children orphaned by the disease, with the help of a wealthy plantation owner. Her faith is tested when she discovers that her young charges are trafficking in dirty needles.\u003c/p>\n\u003cp>The disease is too insidious. The connections between the spread of HIV and the economic conditions of those living with it are too immense to face head on. \u003cb>3 Needles\u003c/b> is a beautifully crafted and heartfelt film, but watching it is almost like an endurance test. You know that an ugly truth lies behind every statistic, but it is difficult to see how mundane that ugliness really is, how a basic element of humanity plays such a large role in the spread of the disease. It would be nice to believe that these stories are about ignorance, but they are not. Each character is willing to sacrifice the next in order to claim a small, temporary financial reward. The problem is they know it’s temporary. They know a price will be paid and are ready to trade their own future, the futures of their neighbors and the futures of whole populations just to ease the discomfort of the present.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What the religious distinctions mean to the film, Buddhist vs. Catholic vs. Pagan, are puzzling to me as all populations behave similarly, trading dirty needles to make a quick buck. And the tedious Olympia Dukakis voice-over does little to explain. \u003cb>3 Needles\u003c/b> casts a cold, hard eye on the plain truths behind HIV and AIDS, but it does so beautifully. What makes the film striking is how blunt (and almost without hope) it is. It’s not easy to see such a passionately made portrait of the despicable. It’s dark, but worth seeing if only to confirm your worst fears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>3 Needles\u003c/b> opens December 1, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you want to know why the human race hasn’t banded together to battle the AIDS epidemic, then you should see \u003cb>3 Needles\u003c/b>. The root causes of the virus’s basically unchecked spread are economic. There is money to be made in blood and there are people ruthless enough, thoughtless enough and careless enough to make it. The three needles of the title are located in a rural Chinese village, Montreal’s porn industry and a South African plantation, and are (inexplicably) divided by religion — Buddhist, Catholic and Pagan.\u003c/p>\n\u003cp>The film opens at a distance. An African coming of age ceremony culminates with the ritual circumcision of a group of young men. The first blood is spilled. From there we move to the “Buddhists,” following Ping (Lucy Liu), a young woman who travels rural China, setting up clinics in small villages to collect blood for the black market. When she turns away a young man who has the sniffles, he volunteers his daughters arm, selling her blood weekly and investing the money in his small rice farm. After awhile people in the village begin to get sick and Ping closes down the clinic and moves on. It isn’t the first time this has happened. Ping and her husband are like vampires, first creating villages of the undead and then whole populations of the dead. The final blow to the small community is delivered by the government when it is finally moved to investigate the outbreak. While giving blood paid $5, testing costs $10.\u003c/p>\n\u003cp>In the “Catholic” section of the film, porn actor Denys (Shawn Ashmore) fears he has HIV and begins faking his tests. In order to maintain the health of their actors, the porn industry has mandated testing every two weeks. Denys ends up infecting his colleagues and devastating the Montreal porn industry. Once his mother (Stockard Channing) discovers her son’s situation, she decides to game the insurance industry to get enough money to insure a secure future for her son.\u003c/p>\n\u003cp>In Africa, among the “Pagans,” a zealous nun (Chloe Sevigny) attempts to care for the ill (and bring them to God before it’s too late), while raising a group of children orphaned by the disease, with the help of a wealthy plantation owner. Her faith is tested when she discovers that her young charges are trafficking in dirty needles.\u003c/p>\n\u003cp>The disease is too insidious. The connections between the spread of HIV and the economic conditions of those living with it are too immense to face head on. \u003cb>3 Needles\u003c/b> is a beautifully crafted and heartfelt film, but watching it is almost like an endurance test. You know that an ugly truth lies behind every statistic, but it is difficult to see how mundane that ugliness really is, how a basic element of humanity plays such a large role in the spread of the disease. It would be nice to believe that these stories are about ignorance, but they are not. Each character is willing to sacrifice the next in order to claim a small, temporary financial reward. The problem is they know it’s temporary. They know a price will be paid and are ready to trade their own future, the futures of their neighbors and the futures of whole populations just to ease the discomfort of the present.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What the religious distinctions mean to the film, Buddhist vs. Catholic vs. Pagan, are puzzling to me as all populations behave similarly, trading dirty needles to make a quick buck. And the tedious Olympia Dukakis voice-over does little to explain. \u003cb>3 Needles\u003c/b> casts a cold, hard eye on the plain truths behind HIV and AIDS, but it does so beautifully. What makes the film striking is how blunt (and almost without hope) it is. It’s not easy to see such a passionately made portrait of the despicable. It’s dark, but worth seeing if only to confirm your worst fears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>3 Needles\u003c/b> opens December 1, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Everyone loves a good joke. Whether it’s at the bar over beers, or by the coffee maker in the break room, people will always listen to a good joke. We all like to laugh, to the point where some people make their livings as comedians, telling jokes in nightclubs every night of the week. We all know some person who we think is hilarious, and why couldn’t that person make it as a professional standup comic? This week, I watched \u003cb>Comedians of Comedy: Live at the El Rey\u003c/b>, which showed five comics in the prime of their careers cutting it up in Los Angeles. But it’s a mystery to most of us how these people go from being our funny friend in the high school cafeteria doing impressions of the principal to being our favorite comedian with a half hour special on HBO. For this week, I’ve picked out seven films that show us the behind-the-scenes lives of professional funny people.\u003c/p>\n\u003cp>\u003cb>Lenny\u003c/b>\u003cbr>This is an extremely sad film about the rise and fall of one of the most inspiring comics ever: Lenny Bruce. Dustin Hoffman plays Bruce, in that era of his brilliance from 1967-1977. It’s prime Hoffman. This film won six Oscar nominations. Bob Fosse directed and gave the film a unique look, in stark black and white. \u003c/p>\n\u003cp>\u003cb>Man on the Moon\u003c/b>\u003cbr>Jim Carrey recreates classic Andy Kaufman’s sketches to perfection. Hardcore comedy nerds had some problems with this film, but if you’re unfamiliar with Kaufman’s bizarre life, this is a good starting point to understand the weird world of an enigmatic comic. Much of Andy’s work is available on DVD; various specials and films he made are still around. \u003c/p>\n\u003cp>\u003cb>Comedian\u003c/b>\u003cbr>Fresh on the scene from one of the most successful sitcoms of all time, Jerry Seinfeld shows the process of putting together a whole new stand-up show. He takes us from tiny clubs in the wee hours to seeing Bill Cosby in a full auditorium. To contrast with Jerry’s reentry into the comedy world, club hack Orny Adams tries to work his way to his first success. At first Orny is obnoxious. But soon, he’s the kind of obnoxious you love to hate. Be sure not to miss a second viewing with Seinfeld’s priceless commentary track. \u003c/p>\n\u003cp>\u003cb>Comedians of Comedy\u003c/b>\u003cbr>I’ve been following Patton Oswalt’s career since the early ’90s. He was one of my favorites then, and he’s only gotten better. For a change from the standard comedy clubs, Patton took himself and three of his friends on the road, touring through rock clubs across the country. This is the only film I can think of that attempts to capture the feeling of the long drives between towns, and the life that happens in the 22 hours the comics are not in the clubs. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Punchline\u003c/b>\u003cbr>Sally Field plays a housewife who wants something more out of her life. She ventures into the world of comedy clubs and befriends Tom Hanks, a bitter, jaded perfomer, who shows her the ropes. John Goodman plays Fields’ unsupportive husband. It’s a little sappy, but I find myself turning to it whenever I see it on cable. \u003c/p>\n\u003cp>\u003cb>When Stand Up Stood Out\u003c/b>\u003cbr>This documentary looks at the Boston comedy scene, when the heart of it was not a comedy club, but a Chinese restaurant. In the early ’80s, there weren’t as many rules to the form, nor were there very many comedy clubs, but there were a lot of creative, talented people and way too much substance abuse. Lenny Clarke, Denis Leary, Bob Goldthwait and Steven Wright all came from this era. When Steven is selected to be on \u003cb>The Tonight Show\u003c/b> the scene blows wide open. \u003c/p>\n\u003cp>\u003cb>The Dark Backward\u003c/b>\u003cbr>This is sadly not available on DVD, but you can “save” it on Netflix so you will know when it is released. Judd Nelson plays a young man who is the unfunniest open mike comic in town. Things get weird when he grows a third arm out of his back. Yes, you read that right. It’s a very surreal film, and captures stage failure like no other film. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>I passed on \u003cb>My Name is Earl\u003c/b> for a long time. I don’t enjoy most of the major network sitcoms, but after recently giving positive reviews to the American version of \u003cb>The Office\u003c/b>, I got several recommendations to watch this one. Trusting my persnickety friends, I queued up season one, and watched it. I loved it. \u003c/p>\n\u003cp>Jason Lee plays Earl, who has a spiritual awakening and decides to rectify his moral karma. The trouble is, Earl was a very bad man. He has a list of over 200 bad things he has done, and each episode is a hilarious reveal about his criminal background. Earl’s exploits in the underworld are funny, but what it takes to make up for crimes long since committed is even more enjoyable. \u003c/p>\n\u003cp>The show is filmed somewhat like \u003cb>Malcolm in the Middle\u003c/b>; it’s not the standard fake house set used in many sitcoms. Jaime Pressly steals every scene she’s in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I missed a day of mail for Thanksgiving, but I had my timing down and it didn’t hurt me. I crossed the magic barrier of 9 DVDs per week. I have five weeks to go, and I’m feeling good about finishing up. 11 DVDs this week. 455 DVDs in 330 days. 45 DVDs left in the next 35 days for a pace of 8.99 per week. Total Viewing Time: 32 days, 20 hours, 11 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />Everyone loves a good joke. Whether it's at the bar over beers, or by the coffee maker in the break room, people will always listen to a good joke. We all like to laugh, to the point where some people make their livings as comedians, telling jokes in nightclubs every night of the week. We all know some person who we think is hilarious, and why couldn't that person make it as a professional standup comic? This week, I watched \u003cb>Comedians of Comedy: Live at the El Rey\u003c/b>, which showed five comics in the prime of their careers cutting it up in Los Angeles. But it's a mystery to most of us how these people go from being our funny friend in the high school cafeteria doing impressions of the principal to being our favorite comedian with a half hour special on HBO. For this week, I've picked out seven films that show us the behind-the-scenes lives of professional funny people.",
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"content": "\u003cp>The first thing you notice is breasts. Most particularly those belonging to Penelope Cruz, who as Raimunda is done up like Sophia Loren in her prime — crisp, dark eyeliner, hair piled high, dresses cut low, cleavage up and out. I think my favorite shot in the film is of Raimunda doing the dishes. Photographed from above, her cleavage jiggles while she furiously scrubs a large knife. (Careful, you might put an eye out!) The shot is quintessential Almodovar, combining the everyday details of domestic life with a hyper-feminine sexuality and the threat of violence. It’s subtle and funny, emblematic of Almodovar’s current approach to filmmaking, which is more casual, more gestural and less mad-cap than in some of his earlier films (\u003cb>Women on the Verge of a Nervous Breakdown\u003c/b>, \u003cb>Law of Desire\u003c/b> or \u003cb>Tie Me Up, Tie Me Down\u003c/b>).\u003c/p>\n\u003cp>In Almodovar’s oeuvre, \u003cb>Volver\u003c/b> lies somewhere between those classics and some of his more recent, less antic films (\u003cb>The Flower of My Secret\u003c/b>, \u003cb>Talk to Her\u003c/b>), but there is always a little mania present in his work — a body to dispose of, a debt to be paid and a character whose world view is just skewed enough to insure that the score will be settled in style.\u003c/p>\n\u003cp>The second thing you notice in an Almodovar film is the color. It is always saturated and reminds one of classic Hollywood Hitchcock — deep red blood pooling serenely over a pale blue floor. As Raimunda goes to work cleaning up her husband’s dead body, she tracks blood all over the kitchen floor with the padded soles of her work shoes — she can never rest, there is always woman’s work to do. And the work is handily undertaken in the no-nonsense way that a working woman would, everything clean and ultimately arriving in its rightful place.\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> means “Coming Back,” which throughout the course of the film applies to a number of scenarios. Raimunda and her sister Sole return to their hometown in La Mancha (where the “East wind drives people crazy”) to visit their ailing aunt Paula and to clean their mother’s grave. Carmen Maura returns to Almodovar’s filmic universe as the ghost of Irene, Sole and Raimunda’s mother who died in a fire (alongside her husband) a few years back. The ghost has spent the last few years looking after her sister Paula, but after Paula’s death, she stows away in the trunk of Sole’s car, hitching a ride to Madrid to haunt her two daughters and take care of some unfinished business. In \u003cb>Volver\u003c/b>, whatever path you have taken, whatever may have gone wrong in your life, there is always a way to return, to make amends and do the right thing — unless you are a bad man, in which case you will be dispatched early in the film, never to be heard from again.\u003c/p>\n\u003cp>Whenever I see an Almodovar film, I go into a bit of a coma. In the hands of a master, it is much easier to let go, not to question, to follow the internal logic of the film wherever it might lead. \u003cb>Volver\u003c/b> is no different. Close attention is paid to the design of the film — each shot is carefully crafted, gorgeous colors combined, camera moves choreographed to perfection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> is populated with characters that have been pushed to the edge but haven’t lost faith. These women have a tendency to blurt outrageous truths bluntly and when least expected. There is no time and little patience for pussyfooting. They also have a proclivity for acting decisively. You can see them make up their minds and commit whole-heartedly to a course of action, however rash or outlandish. After all, when the ghost of your dead mother asks you for a new haircut and dye job, what else can you do but get to work?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> opens in the Bay Area November 22, 2006.\u003cbr>\n\u003ca href=\"http://www.sfgate.com/movies/playing/\" target=\"offsite\" rel=\"noopener\">Get theaters and showtimes\u003c/a> (at sfgate.com)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you notice is breasts. Most particularly those belonging to Penelope Cruz, who as Raimunda is done up like Sophia Loren in her prime — crisp, dark eyeliner, hair piled high, dresses cut low, cleavage up and out. I think my favorite shot in the film is of Raimunda doing the dishes. Photographed from above, her cleavage jiggles while she furiously scrubs a large knife. (Careful, you might put an eye out!) The shot is quintessential Almodovar, combining the everyday details of domestic life with a hyper-feminine sexuality and the threat of violence. It’s subtle and funny, emblematic of Almodovar’s current approach to filmmaking, which is more casual, more gestural and less mad-cap than in some of his earlier films (\u003cb>Women on the Verge of a Nervous Breakdown\u003c/b>, \u003cb>Law of Desire\u003c/b> or \u003cb>Tie Me Up, Tie Me Down\u003c/b>).\u003c/p>\n\u003cp>In Almodovar’s oeuvre, \u003cb>Volver\u003c/b> lies somewhere between those classics and some of his more recent, less antic films (\u003cb>The Flower of My Secret\u003c/b>, \u003cb>Talk to Her\u003c/b>), but there is always a little mania present in his work — a body to dispose of, a debt to be paid and a character whose world view is just skewed enough to insure that the score will be settled in style.\u003c/p>\n\u003cp>The second thing you notice in an Almodovar film is the color. It is always saturated and reminds one of classic Hollywood Hitchcock — deep red blood pooling serenely over a pale blue floor. As Raimunda goes to work cleaning up her husband’s dead body, she tracks blood all over the kitchen floor with the padded soles of her work shoes — she can never rest, there is always woman’s work to do. And the work is handily undertaken in the no-nonsense way that a working woman would, everything clean and ultimately arriving in its rightful place.\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> means “Coming Back,” which throughout the course of the film applies to a number of scenarios. Raimunda and her sister Sole return to their hometown in La Mancha (where the “East wind drives people crazy”) to visit their ailing aunt Paula and to clean their mother’s grave. Carmen Maura returns to Almodovar’s filmic universe as the ghost of Irene, Sole and Raimunda’s mother who died in a fire (alongside her husband) a few years back. The ghost has spent the last few years looking after her sister Paula, but after Paula’s death, she stows away in the trunk of Sole’s car, hitching a ride to Madrid to haunt her two daughters and take care of some unfinished business. In \u003cb>Volver\u003c/b>, whatever path you have taken, whatever may have gone wrong in your life, there is always a way to return, to make amends and do the right thing — unless you are a bad man, in which case you will be dispatched early in the film, never to be heard from again.\u003c/p>\n\u003cp>Whenever I see an Almodovar film, I go into a bit of a coma. In the hands of a master, it is much easier to let go, not to question, to follow the internal logic of the film wherever it might lead. \u003cb>Volver\u003c/b> is no different. Close attention is paid to the design of the film — each shot is carefully crafted, gorgeous colors combined, camera moves choreographed to perfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> is populated with characters that have been pushed to the edge but haven’t lost faith. These women have a tendency to blurt outrageous truths bluntly and when least expected. There is no time and little patience for pussyfooting. They also have a proclivity for acting decisively. You can see them make up their minds and commit whole-heartedly to a course of action, however rash or outlandish. After all, when the ghost of your dead mother asks you for a new haircut and dye job, what else can you do but get to work?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Volver\u003c/b> opens in the Bay Area November 22, 2006.\u003cbr>\n\u003ca href=\"http://www.sfgate.com/movies/playing/\" target=\"offsite\" rel=\"noopener\">Get theaters and showtimes\u003c/a> (at sfgate.com)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I’ve passed 31 days total viewing time, if I had watched all 444 DVDs back to back, I would have spent a month solid watching movies. Not only am I losing patience with sub-par films, I’m running out of column ideas. After hating \u003cb>Kicking and Screaming\u003c/b> and \u003cb>Ladybugs\u003c/b>, I thought maybe I should write a column about sports films I like, but I’ve done that. I also watched two seasons of \u003cb>Little Britain\u003c/b>, a huge British success that’s still not found an audience, followed by an idea to write a column about under-the-radar British films, but I’ve done that as well. The rest of the queue was filled with Paul Newman reissues, but they haven’t all shown up yet so I’d like to save that for next week. I don’t want to give a favorites list for the year yet, since this whole thing ends in another six weeks. So now I’ve seen 444 DVDs this year, and I have no idea what to write about. But there are a few people involved in films I watched who I think are undernoticed, while rated highly by critics.\u003c/p>\n\u003cp>\u003cb>Arthur Penn\u003c/b>\u003cbr>Philo Farnsworth was the inventor of the cathode ray tube, along with his company Philco. When you add a couple of doohickies and gizmos to one of those tubes, you have a TV. Of course, TV was invented before there were TV shows, so one of the early producers of TV shows was Philco. Who was going to buy a TV if there was nothing to watch on it? Philco started \u003cb>The Philco Television Playhouse\u003c/b> in 1948. Imagine a televison manufacturer today getting involved at that level, or Apple producing music recordings for the Ipod. But that was the way Philco sold their sets, and one of their early directors was Arthur Penn.\u003c/p>\n\u003cp>Penn has been around the business as long as anyone still alive, and he may yet direct another film. After earning his stripes in the earliest days of television, Penn went on to direct \u003cb>Alice’s Restaurant\u003c/b>, \u003cb>The Miracle Worker\u003c/b>, and \u003cb>Bonnie and Clyde\u003c/b>. He received Oscar nominations for each of these films. Other films he directed that are worth seeing are: \u003cb>The Lefthanded Gun\u003c/b>, starring Paul Newman as Billy the Kid; \u003cb>The Chase\u003c/b> and \u003cb>The Missouri Breaks\u003c/b> starring Brando; \u003cb>Little Big Man\u003c/b> starring Dustin Hoffman and Faye Dunaway; and \u003cb>Night Moves\u003c/b>, starring Gene Hackman. His films have a stark sense of violence that doesn’t register the same shock of the time. \u003cb>Bonnie and Clyde\u003c/b> was the \u003cb>Reservoir Dogs\u003c/b> of the late ’60s. \u003c/p>\n\u003cp>\u003cb>Ernest Lehman\u003c/b>\u003cbr>What do the films \u003cb>Hello Dolly!\u003c/b>, \u003cb>Who’s Afraid of Virginia Woolf\u003c/b>, \u003cb>Sabrina\u003c/b>, \u003cb>North By Northwest\u003c/b>, \u003cb>The Sound of Music\u003c/b>, \u003cb>The King and I\u003c/b>, \u003cb>Somebody Up There Likes Me\u003c/b>, and \u003cb>West Side Story\u003c/b> all have in common? Ernest Lehman wrote them all. While he never won an Oscar for any of his six nominations, he did receive an honorary Academy Award in 2001 in what I like to call their Lifetime Apology award. There are so many in the history of Hollywood who never got his or her due while the works were contemporary. \u003c/p>\n\u003cp>\u003cb>Terrance Malick\u003c/b>\u003cbr>Film nerds are no stranger to Malick, but he’s not a household name. He’s one of the few people in Hollywood who doesn’t like attention. His contracts stipulate that he doesn’t do publicity for the films he directs nor will he have any current photos published. Before he went on to write and direct masterpieces like \u003cb>Badlands\u003c/b> and \u003cb>Days of Heaven\u003c/b>, Malick got a degree in Philosophy from Harvard and taught at MIT. As a result, his films have a dark brooding sense about them, and often have existensial attitudes and messages. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>My favorite film of the week may not have been the best one, but the one I honestly enjoyed the most: \u003cb>The Lords of Flatbush\u003c/b>. This is Sylvester Stallone’s first screenplay. If you’re not aware, Stallone wrote the memorable roles that he starred in, notably the \u003cb>Rambo\u003c/b> and \u003cb>Rocky\u003c/b> movies. This small film features a pre-\u003cb>Happy Days\u003c/b> Henry “The Fonz” Winkler in one of the fun juvenile delinquent films that emerged in the ’50s (\u003cb>The Blackboard Jungle\u003c/b>) and resurged in the ’70s with films like \u003cb>The Wanderers\u003c/b>. While Stallone can barely pronounce the words he has typed onto the pages, it’s still a good performance, not nearly as beautiful as \u003cb>Rocky\u003c/b>, who had the mumbly ineloquence written into the character.\u003c/p>\n\u003cp>The only real negatives to this DVD are the poor audio and video quality of the transfer. At least there were English subtitles for the extra mumbly scenes.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>After Veteran’s Day screwed up my mail, I received six DVDs on Monday. That helped me get a headstart on this week. I watched 13 this week, with 2 still at home for Monday, and one that hasn’t shown up yet. I’m getting anxiety about all the upcoming holidays messing up the mail delivery. Anyway you cut it, I’m going to be close to make 500. I wouldn’t be surprised if I got the last one before I left the house for New Year’s celebrations.\u003c/p>\n\u003cp>13 DVDs this week. 444 DVDs in 323 days. 56 DVDs left in the next 42 days for a pace of 9.33 per week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 31 days, 22 hours, 27 minutes\u003c/p>\n\n",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There are World Cup fans and then there are football fans. That’s pretty much how it breaks up. You can put anyone watching a match in one of these two camps. For the uninitiated, when I say “football” from here on out, I’m talking about soccer. If you think it doesn’t matter, call football “soccer” in front of a football fan.\u003c/p>\n\u003cp>Following the World Cup is as trendy as white belts. Every four years, there’s an international competition to determine the world champion. In honor of this tournament, tons of Americans use it as an excuse to go to a bar and drink in the morning. They’ll say they love soccer, how it’s great, how it’s faster than any other sport, how the athletes are in the best shape of any other professional athlete, regardless of facts. The World Cup fan generally doesn’t follow the sport when it’s not World Cup time. Every four years, they smugly pretend to be really into soccer. \u003c/p>\n\u003cp>The football fan has a team that has been followed for at least three generations in the family. It’s a loyal, dedicated fanbase that is hard to understand unless you’re a baseball fan. But don’t you dare compare the sports: football fans generally hate baseball for all the same reasons they say you shouldn’t hate football. But when it comes down to it, both sports have inherited followings, and both are games of heartbreak. People are fans of the same teams that their grandfathers were fans of, regardless of where they live. And, if you’re lucky, you get to see your team win the championship once or twice in a lifetime. \u003c/p>\n\u003cp>I’ve never been able to watch a football match from start to finish. I can’t stand looking at it. Of course, I don’t expect someone from a nonbaseball country to sit through the All Star Game or even a game 7 of the World Series. Baseball and football both pretty much require a lifetime of watching to appreciate. Otherwise, it’s like looking at just one episode of a soap opera and attempting to know what’s going on. \u003c/p>\n\u003cp>However, I’ve watched quite a few football movies this year, and I love them. I had some more coming, but they didn’t show up on time. Regardless, here’s a quick guide to some good films that you may have missed under the assumption that if you don’t like soccer you won’t like these films. Go ahead and pick these up, they’re worth it on their own. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Bend it Like Beckham\u003c/b>\u003cbr>This Culture Clash type film pits a traditional Indian family’s values against the daughter’s love for the game. They tell her not to play, but she sneaks out and plays anyway. There are some plot gaps, but the overall story is sweet and compelling, athough it’s quite sappy. \u003c/p>\n\u003cp>\u003cb>The Football Factory\u003c/b>\u003cbr>This is the \u003cb>Pulp Fiction\u003c/b> of football films. It’s brutal and violent, and captures the comraderie of the Hooligan, the word for the boneheaded fans who love to chant, drink, and fight. \u003c/p>\n\u003cp>\u003cb>Green Street Hooligans\u003c/b>\u003cbr>Elijah Wood stars in this independent feature about an American who gets immersed in the world of football and Hooliganism. While not as good as \u003cb>The Football Factory\u003c/b>, it’s still fun, and a little more accessible to the American viewer. \u003c/p>\n\u003cp>\u003cb>Once in a Lifetime\u003c/b>\u003cbr>This documentary has been showing on several ESPN channels as of late. It’s worth checking out. It examines the short-lived North American Soccer League that disbanded after its late 1970s heyday. NASL recruited some of the best players worldwide to play for the New York Cosmos. Unfortunately, the US may never be able to sustain a pro soccer league at the level they required. \u003c/p>\n\u003cp>\u003cb>Shaolin Soccer\u003c/b>\u003cbr>Filmed with special effects of martial arts films, this sports film has a look unlike any other. The tone of the film is a satire of second rate Kung Fu flicks. Hands down, it’s the funniest film of the lot. \u003c/p>\n\u003cp>\u003cb>Goal! The Dream Begins\u003c/b>\u003cbr>If you’re the type who watches football to look at the boys, this is the one for you. There’s nothing too special about the plot or the filming, but Kuno Becker has made a lot of fans with his looks. Two sequels are planned. \u003c/p>\n\u003cp>\u003cb>Victory\u003c/b>\u003cbr>Despite Sly Stallone’s wooden performance and 1980s haircut, I really enjoyed this one. Michael Caine and Max Von Sydow overcome Sly’s underperformance. It’s a bit like \u003cb>The Longest Yard\u003c/b> but with WWII POW’s versus the German National Team. The sports scenes are captivating, played with a who’s who of international stars, including Pele. \u003c/p>\n\u003cp>\u003cb>Mean Machine\u003c/b>\u003cbr>This is a remake of \u003cb>The Longest Yard\u003c/b>, starring former footballer Vinnie Jones and the scene stealing Jason Statham. It’s one of the few great remakes. It’s prisoners versus the guards in a British prison. It remains true to the original while adding some nice elements on its own. \u003c/p>\n\u003cp>and the one, if you must see only one, to see isÂ…\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>No film has captured the heartbreak and undying faith of the fan like \u003cb>Fever Pitch\u003c/b>. Nick Hornby wrote not only the screenplay but the novel it was based on. The main character, Paul is a die hard Arsenal fan. He meets Sarah, and they fall for each other, but she doesn’t get his devotion to football and his favorite club. There’s not really that much football in this one, but there’s more fan than any of the other films. It’s one of those films that flies by and feels like it’s only been half an hour. I didn’t see the American remake with Jimmy Fallon and Drew Barrymore, mostly because of all the bandwagon Red Sox fans who popped up in 2004 for the World Series, but haven’t watched a baseball game since. But this original film is my pick of the week. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>The lack of mail on Saturday for Veteran’s Day hit me hard. There are seven DVDs coming for me on Monday, but I wasn’t able to get in a full set of films. \u003c/p>\n\u003cp>6 DVDs this week. 431 DVDs in 316 days. 69 DVDs left in the next 49 days for a pace of 9.85 per week. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Total Viewing Time: 30 days, 22 hours, 28 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />There are World Cup fans and then there are football fans. That's pretty much how it breaks up. You can put anyone watching a match in one of these two camps. For the uninitiated, when I say \"football\" from here on out, I'm talking about soccer. If you think it doesn't matter, call football \"soccer\" in front of a football fan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There are World Cup fans and then there are football fans. That’s pretty much how it breaks up. You can put anyone watching a match in one of these two camps. For the uninitiated, when I say “football” from here on out, I’m talking about soccer. If you think it doesn’t matter, call football “soccer” in front of a football fan.\u003c/p>\n\u003cp>Following the World Cup is as trendy as white belts. Every four years, there’s an international competition to determine the world champion. In honor of this tournament, tons of Americans use it as an excuse to go to a bar and drink in the morning. They’ll say they love soccer, how it’s great, how it’s faster than any other sport, how the athletes are in the best shape of any other professional athlete, regardless of facts. The World Cup fan generally doesn’t follow the sport when it’s not World Cup time. Every four years, they smugly pretend to be really into soccer. \u003c/p>\n\u003cp>The football fan has a team that has been followed for at least three generations in the family. It’s a loyal, dedicated fanbase that is hard to understand unless you’re a baseball fan. But don’t you dare compare the sports: football fans generally hate baseball for all the same reasons they say you shouldn’t hate football. But when it comes down to it, both sports have inherited followings, and both are games of heartbreak. People are fans of the same teams that their grandfathers were fans of, regardless of where they live. And, if you’re lucky, you get to see your team win the championship once or twice in a lifetime. \u003c/p>\n\u003cp>I’ve never been able to watch a football match from start to finish. I can’t stand looking at it. Of course, I don’t expect someone from a nonbaseball country to sit through the All Star Game or even a game 7 of the World Series. Baseball and football both pretty much require a lifetime of watching to appreciate. Otherwise, it’s like looking at just one episode of a soap opera and attempting to know what’s going on. \u003c/p>\n\u003cp>However, I’ve watched quite a few football movies this year, and I love them. I had some more coming, but they didn’t show up on time. Regardless, here’s a quick guide to some good films that you may have missed under the assumption that if you don’t like soccer you won’t like these films. Go ahead and pick these up, they’re worth it on their own. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Bend it Like Beckham\u003c/b>\u003cbr>This Culture Clash type film pits a traditional Indian family’s values against the daughter’s love for the game. They tell her not to play, but she sneaks out and plays anyway. There are some plot gaps, but the overall story is sweet and compelling, athough it’s quite sappy. \u003c/p>\n\u003cp>\u003cb>The Football Factory\u003c/b>\u003cbr>This is the \u003cb>Pulp Fiction\u003c/b> of football films. It’s brutal and violent, and captures the comraderie of the Hooligan, the word for the boneheaded fans who love to chant, drink, and fight. \u003c/p>\n\u003cp>\u003cb>Green Street Hooligans\u003c/b>\u003cbr>Elijah Wood stars in this independent feature about an American who gets immersed in the world of football and Hooliganism. While not as good as \u003cb>The Football Factory\u003c/b>, it’s still fun, and a little more accessible to the American viewer. \u003c/p>\n\u003cp>\u003cb>Once in a Lifetime\u003c/b>\u003cbr>This documentary has been showing on several ESPN channels as of late. It’s worth checking out. It examines the short-lived North American Soccer League that disbanded after its late 1970s heyday. NASL recruited some of the best players worldwide to play for the New York Cosmos. Unfortunately, the US may never be able to sustain a pro soccer league at the level they required. \u003c/p>\n\u003cp>\u003cb>Shaolin Soccer\u003c/b>\u003cbr>Filmed with special effects of martial arts films, this sports film has a look unlike any other. The tone of the film is a satire of second rate Kung Fu flicks. Hands down, it’s the funniest film of the lot. \u003c/p>\n\u003cp>\u003cb>Goal! The Dream Begins\u003c/b>\u003cbr>If you’re the type who watches football to look at the boys, this is the one for you. There’s nothing too special about the plot or the filming, but Kuno Becker has made a lot of fans with his looks. Two sequels are planned. \u003c/p>\n\u003cp>\u003cb>Victory\u003c/b>\u003cbr>Despite Sly Stallone’s wooden performance and 1980s haircut, I really enjoyed this one. Michael Caine and Max Von Sydow overcome Sly’s underperformance. It’s a bit like \u003cb>The Longest Yard\u003c/b> but with WWII POW’s versus the German National Team. The sports scenes are captivating, played with a who’s who of international stars, including Pele. \u003c/p>\n\u003cp>\u003cb>Mean Machine\u003c/b>\u003cbr>This is a remake of \u003cb>The Longest Yard\u003c/b>, starring former footballer Vinnie Jones and the scene stealing Jason Statham. It’s one of the few great remakes. It’s prisoners versus the guards in a British prison. It remains true to the original while adding some nice elements on its own. \u003c/p>\n\u003cp>and the one, if you must see only one, to see isÂ…\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>No film has captured the heartbreak and undying faith of the fan like \u003cb>Fever Pitch\u003c/b>. Nick Hornby wrote not only the screenplay but the novel it was based on. The main character, Paul is a die hard Arsenal fan. He meets Sarah, and they fall for each other, but she doesn’t get his devotion to football and his favorite club. There’s not really that much football in this one, but there’s more fan than any of the other films. It’s one of those films that flies by and feels like it’s only been half an hour. I didn’t see the American remake with Jimmy Fallon and Drew Barrymore, mostly because of all the bandwagon Red Sox fans who popped up in 2004 for the World Series, but haven’t watched a baseball game since. But this original film is my pick of the week. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>The lack of mail on Saturday for Veteran’s Day hit me hard. There are seven DVDs coming for me on Monday, but I wasn’t able to get in a full set of films. \u003c/p>\n\u003cp>6 DVDs this week. 431 DVDs in 316 days. 69 DVDs left in the next 49 days for a pace of 9.85 per week. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I admit it: I’d never seen \u003cb>The Graduate\u003c/b> until November 5th. There were other films in my queue during this year that are undisputed classics that I had never seen: \u003cb>From Here to Eternity\u003c/b>, \u003cb>Aguirre The Wrath of God\u003c/b>, \u003cb>Guess Who’s Coming to Dinner\u003c/b>, to name three. I’ve seen all manner of cinema trash starring the likes of John Stamos and Ashton Kutcher, but there are great films I’ve missed. One of the categories of films I added in when filling up the queue were films I’ve always meant to see but never got around to watching for one reason or another. Needing a “can’t miss” quality film, I put it near the top for this week’s selection. But I knew while watching it, that I couldn’t see it for what it really was at the time since I had seen all the movies that heavily stole from it. \u003c/p>\n\u003cp>There’s a few films that are made that change the way many films are made later. \u003cb>Pulp Fiction\u003c/b> changed the way dialogue is written and the tone of many action films. \u003cb>The French Connection\u003c/b> reinvented the chase scene. \u003cb>The Godfather\u003c/b> was imitated poorly by almost every mafia film that followed. \u003cb>Star Wars\u003c/b> presented a brand new model of releasing and marketing films that is still with us today. The twenty-something angst film was invented with \u003cb>The Graduate\u003c/b> in the year that many Gen Xers were being conceived. \u003c/p>\n\u003cp>The nineties gave us way too many films about Gen X flakes that were bored and without direction: \u003cb>Reality Bites\u003c/b>, \u003cb>Singles\u003c/b>, and \u003cb>Kicking and Screaming\u003c/b>. Instead of Dustin Hoffman, we have Ben Stiller, Matt Dillon, and Eric Stoltz: each of them are fun in their proper roles, but have nowhere near the range of Hoffman. “We have our college degrees, but what are we supposed to do?” “I’m not interested in a coporate job I want to pursue my passion!” It’s not new, it’s what your parents thought, guys. \u003c/p>\n\u003cp>This decade, the formula is a bit different but it’s still there. \u003cb>Garden State\u003c/b>. \u003cb>I Heart Huckabees\u003c/b>. \u003cb>Lost in Translation\u003c/b>. All the Wes Anderson films. We still have Ben Stiller, and now Bill Murray joins him. Now, a lot of it is “I have success, but it’s not fulfilling.” “I’m quitting my corporate job to pursue my passion.” \u003c/p>\n\u003cp>I don’t know enough about the history of soundtracks to know where \u003cb>The Graduate\u003c/b> fits in to the whole scheme of things, but I do know that the soundtrack to this film was a number one album. I’m not sure where this started, but I do sit through films where it seems as if the film is made to have a hit soundtrack and to sell records more so than being a good film. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But worse than having the sentiment and style stolen, is the fact that great films like these are spoiled for us before we are ever old enough to appreciate them. We know what Rosebud is before the first scene of \u003cb>Citizen Kane\u003c/b>, we’ve seen the last shot of \u003cb>Casablanca\u003c/b> enough to imitate it badly, and kids today know who Luke’s real father is before they are old enough to read the first title screen of \u003cb>Star Wars\u003c/b>, much less seeing the next film in which the paternal revelation is made. And like these others, I knew all the pertinent plot points of \u003cb>The Graduate\u003c/b> and how the last ten minutes of the film went. In case you just moved to this country, I won’t ruin any of these films for you. \u003c/p>\n\u003cp>I’m a true film nerd, not a film snob. A film snob will watch Fellini but not Jerry Bruckheimer. I admit I see a lot of garbage, but I’ve seen more of the great films than most people. How can a guy like me go his whole life without watching this film? This is the extent of my nerdiness: when presented with the “what would you do if you knew the world was ending tomorrow?” question during a freshman mixer at college, I said I would hit the videostore. Nerd! \u003c/p>\n\u003cp>There’s a few films I purposely haven’t watched because I don’t want to run out of films by certain directors I like. I don’t want to watch the last of the Spike Lee, Martin Scorsese, and John Waters films that I haven’t seen. There are Westerns, film noir, and musicals that also fall into this category. I’m waiting for the really bad day when I need a film to excite or inspire me, and there’s nothing like watching a film for the first time.\u003c/p>\n\u003cp>In the end, \u003cb>The Graduate\u003c/b> lives up to the hype. It’s a fun film that’s well shot, and it’s worth it even if you know every single beat of the film. I’d feel like a moron for having seen this yesterday and not making it my pick of the week. So if you’re at the video store or filling up the queue tomorrow, instead of picking up \u003cb>Little Man\u003c/b>, give \u003cb>The Graduate\u003c/b> a whirl if you haven’t seen it. \u003c/p>\n\u003cp>\u003cb>Theater Report\u003c/b>\u003cbr>I saw two films in the theater this week. \u003c/p>\n\u003cp>\u003cb>The Departed at The Empire\u003c/b>\u003cbr>Add The Empire to the growing list of theaters that sell coffee inside. Sure, it’s Starbucks, but it’s better than nothing. I could be wrong, but I think they had new seats in there as well. You really should see Scorsese’s work in the theater to judge it. He shoots his films with the idea that it’s going to be on the big screen when seen. If you get a chance to see his great films like \u003cb>Taxi Driver\u003c/b> at an art house, check it out. While not one of his best, this is a much better cop film than anything else of the genre out there. Nicholson and DiCaprio both deliver great performances. Someone tell Matt Damon to cut down on the botox. \u003c/p>\n\u003cp>\u003cb>Shortbus at The Embarcadero\u003c/b>\u003cbr>Normally there’s good coffee here, but some noncoffee drinker was on shift. Ugh. I didn’t finish it. \u003cb>Shortbus\u003c/b> is like a bisexual porno version of the movie \u003cb>Crash\u003c/b>, for better or worse. I hated \u003cb>Crash\u003c/b>, found little to like about its characters or plot. I felt the same about \u003cb>Shortbus\u003c/b>, but at least there’s lots of explicit sex to break up the bad dialogue. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>12 DVDs this week. 425 DVDs in 309 days. 75 DVDs left in the next 56 days for a pace of 9.38 per week. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Total Viewing Time: 30 days, 12 hours, 34 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />I admit it: I'd never seen \u003cb>The Graduate\u003c/b> until November 5th. There were other films in my queue during this year that are undisputed classics that I had never seen: \u003cb>From Here to Eternity\u003c/b>, \u003cb>Aguirre The Wrath of God\u003c/b>, \u003cb>Guess Who's Coming to Dinner\u003c/b>, to name three. I've seen all manner of cinema trash starring the likes of John Stamos and Ashton Kutcher, but there are great films I've missed. One of the categories of films I added in when filling up the queue were films I've always meant to see but never got around to watching for one reason or another. Needing a \"can't miss\" quality film, I put it near the top for this week's selection. But I knew while watching it, that I couldn't see it for what it really was at the time since I had seen all the movies that heavily stole from it. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I admit it: I’d never seen \u003cb>The Graduate\u003c/b> until November 5th. There were other films in my queue during this year that are undisputed classics that I had never seen: \u003cb>From Here to Eternity\u003c/b>, \u003cb>Aguirre The Wrath of God\u003c/b>, \u003cb>Guess Who’s Coming to Dinner\u003c/b>, to name three. I’ve seen all manner of cinema trash starring the likes of John Stamos and Ashton Kutcher, but there are great films I’ve missed. One of the categories of films I added in when filling up the queue were films I’ve always meant to see but never got around to watching for one reason or another. Needing a “can’t miss” quality film, I put it near the top for this week’s selection. But I knew while watching it, that I couldn’t see it for what it really was at the time since I had seen all the movies that heavily stole from it. \u003c/p>\n\u003cp>There’s a few films that are made that change the way many films are made later. \u003cb>Pulp Fiction\u003c/b> changed the way dialogue is written and the tone of many action films. \u003cb>The French Connection\u003c/b> reinvented the chase scene. \u003cb>The Godfather\u003c/b> was imitated poorly by almost every mafia film that followed. \u003cb>Star Wars\u003c/b> presented a brand new model of releasing and marketing films that is still with us today. The twenty-something angst film was invented with \u003cb>The Graduate\u003c/b> in the year that many Gen Xers were being conceived. \u003c/p>\n\u003cp>The nineties gave us way too many films about Gen X flakes that were bored and without direction: \u003cb>Reality Bites\u003c/b>, \u003cb>Singles\u003c/b>, and \u003cb>Kicking and Screaming\u003c/b>. Instead of Dustin Hoffman, we have Ben Stiller, Matt Dillon, and Eric Stoltz: each of them are fun in their proper roles, but have nowhere near the range of Hoffman. “We have our college degrees, but what are we supposed to do?” “I’m not interested in a coporate job I want to pursue my passion!” It’s not new, it’s what your parents thought, guys. \u003c/p>\n\u003cp>This decade, the formula is a bit different but it’s still there. \u003cb>Garden State\u003c/b>. \u003cb>I Heart Huckabees\u003c/b>. \u003cb>Lost in Translation\u003c/b>. All the Wes Anderson films. We still have Ben Stiller, and now Bill Murray joins him. Now, a lot of it is “I have success, but it’s not fulfilling.” “I’m quitting my corporate job to pursue my passion.” \u003c/p>\n\u003cp>I don’t know enough about the history of soundtracks to know where \u003cb>The Graduate\u003c/b> fits in to the whole scheme of things, but I do know that the soundtrack to this film was a number one album. I’m not sure where this started, but I do sit through films where it seems as if the film is made to have a hit soundtrack and to sell records more so than being a good film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But worse than having the sentiment and style stolen, is the fact that great films like these are spoiled for us before we are ever old enough to appreciate them. We know what Rosebud is before the first scene of \u003cb>Citizen Kane\u003c/b>, we’ve seen the last shot of \u003cb>Casablanca\u003c/b> enough to imitate it badly, and kids today know who Luke’s real father is before they are old enough to read the first title screen of \u003cb>Star Wars\u003c/b>, much less seeing the next film in which the paternal revelation is made. And like these others, I knew all the pertinent plot points of \u003cb>The Graduate\u003c/b> and how the last ten minutes of the film went. In case you just moved to this country, I won’t ruin any of these films for you. \u003c/p>\n\u003cp>I’m a true film nerd, not a film snob. A film snob will watch Fellini but not Jerry Bruckheimer. I admit I see a lot of garbage, but I’ve seen more of the great films than most people. How can a guy like me go his whole life without watching this film? This is the extent of my nerdiness: when presented with the “what would you do if you knew the world was ending tomorrow?” question during a freshman mixer at college, I said I would hit the videostore. Nerd! \u003c/p>\n\u003cp>There’s a few films I purposely haven’t watched because I don’t want to run out of films by certain directors I like. I don’t want to watch the last of the Spike Lee, Martin Scorsese, and John Waters films that I haven’t seen. There are Westerns, film noir, and musicals that also fall into this category. I’m waiting for the really bad day when I need a film to excite or inspire me, and there’s nothing like watching a film for the first time.\u003c/p>\n\u003cp>In the end, \u003cb>The Graduate\u003c/b> lives up to the hype. It’s a fun film that’s well shot, and it’s worth it even if you know every single beat of the film. I’d feel like a moron for having seen this yesterday and not making it my pick of the week. So if you’re at the video store or filling up the queue tomorrow, instead of picking up \u003cb>Little Man\u003c/b>, give \u003cb>The Graduate\u003c/b> a whirl if you haven’t seen it. \u003c/p>\n\u003cp>\u003cb>Theater Report\u003c/b>\u003cbr>I saw two films in the theater this week. \u003c/p>\n\u003cp>\u003cb>The Departed at The Empire\u003c/b>\u003cbr>Add The Empire to the growing list of theaters that sell coffee inside. Sure, it’s Starbucks, but it’s better than nothing. I could be wrong, but I think they had new seats in there as well. You really should see Scorsese’s work in the theater to judge it. He shoots his films with the idea that it’s going to be on the big screen when seen. If you get a chance to see his great films like \u003cb>Taxi Driver\u003c/b> at an art house, check it out. While not one of his best, this is a much better cop film than anything else of the genre out there. Nicholson and DiCaprio both deliver great performances. Someone tell Matt Damon to cut down on the botox. \u003c/p>\n\u003cp>\u003cb>Shortbus at The Embarcadero\u003c/b>\u003cbr>Normally there’s good coffee here, but some noncoffee drinker was on shift. Ugh. I didn’t finish it. \u003cb>Shortbus\u003c/b> is like a bisexual porno version of the movie \u003cb>Crash\u003c/b>, for better or worse. I hated \u003cb>Crash\u003c/b>, found little to like about its characters or plot. I felt the same about \u003cb>Shortbus\u003c/b>, but at least there’s lots of explicit sex to break up the bad dialogue. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>12 DVDs this week. 425 DVDs in 309 days. 75 DVDs left in the next 56 days for a pace of 9.38 per week. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I’m sure you’ve figured out by now that I love horror films. There have been lots of picks of the week from me that are horror films and many more that came close. When they’re done well, there’s little that can match the viewing experience. But more often than not, they’re done poorly, as with any genre. Halloween is tomorrow, and many of you out there will pass out candy and watch a scary movie afterwards. A quick trip to your video store will find your favorites taken — \u003cb>The Exorcist\u003c/b>, \u003cb>Carrie\u003c/b>, \u003cb>The Amityville Horror\u003c/b>, et al — and leave you picking the remains. So I thought I’d share some underrated favorites of my own. \u003c/p>\n\u003cp>These films are rarely, if ever, on television. They’re all on DVD, but many of them were not on video in the states, or they were hard to find in video stores. All should be available through Netflix.\u003c/p>\n\u003cp>\u003cb>The Changeling\u003c/b>\u003cbr>Long before the influx of Japanese child-ghost films such as \u003cb>The Ring\u003c/b>, there was this truly creepy film starring George C Scott. The whole film finds its fright in lighting, shadows, and cinematography. Never before has a tiny wheelchair covered in cobwebs seemed so frightening. In no time, you’ll hear the sounds of tiny ghosts bumping in your own attic. If you can watch this one by yourself in the dark without getting the willies, you have icewater for blood. \u003c/p>\n\u003cp>\u003cb>Idle Hands\u003c/b>\u003cbr>A comedy horror film — one part teen flick, and one part zombie movie. Adolescence is hard enough without having a murderous hand possessed by an evil spirit. Seth Green steals his scenes, and Jessica Alba looks great in this pre-\u003cb>Dark Angel\u003c/b> role. If you like \u003cb>Buffy the Vampire Slayer\u003c/b>, you’ll like this one.\u003c/p>\n\u003cp>\u003cb>Shadow of the Vampire\u003c/b>\u003cbr>Willem Defoe and John Malkovich team up for this behind-the-scenes ‘what if?’ film about the making of \u003cb>Nosferatu\u003c/b>. What if the lead character in the film really WAS a vampire? Unfortunately, this film barely made back its $8 million budget. If you’ve seen the Herzog \u003cb>Nosferatu\u003c/b>, or the F.W. Murnau original, check this out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The Cat People\u003c/b>\u003cbr>Val Lewton’s original film is a classic. Luckily for us, many of his films that were unavailable on video are now re-released on DVD. There’s a boxed set available and you can’t go wrong with any of them, but this one, about a woman who may or may not turn into a panther to hunt her prey, is my favorite.\u003c/p>\n\u003cp>\u003cb>Strait-Jacket\u003c/b>\u003cbr>Bill Castle, whose autobiography \u003cb>Step Right Up, I’m Going To Scare The Pants Off America\u003c/b> is a must read, made this film, which rejuvenated Joan Crawford’s career, about an ax murderer who is released from an asylum after being rehabilitated. But did it work? The screenplay comes from Robert Bloch, the writer of the novel from which\u003cb> Psycho\u003c/b> was adapted. \u003c/p>\n\u003cp>\u003cb>It’s Alive!\u003c/b>\u003cbr>I already wrote up Larry Cohen’s \u003cb>The Stuff\u003c/b> earlier this year, so my Cohen pick is this freaky monster baby film that looks totally dumb on the cover, but works effectively upon viewing. The commentary track by Cohen is like a class in how to make a good low budget horror film. \u003c/p>\n\u003cp>\u003cb>Shivers\u003c/b>\u003cbr>I have to include a Cronenberg film in this list. In this one, weird parasites take over a high rise full of swank 70’s yuppies. Maybe you’ve seen \u003cb>Dead Ringers\u003c/b>, maybe even \u003cb>The Brood\u003c/b>, but I doubt you saw this one, now on DVD in widescreen format.\u003c/p>\n\u003cp>\u003cb>Near Dark\u003c/b>\u003cbr>My favorite vampire film ever. Lance Henriksen and Bill Paxton, among others, are vampires who roadtrip across the country in an RV decked out to protect them from the harmful sun. It’s a nice twist on the standard Vampire film. Have you noticed there are not very many good vampire films at all? I’ve never figured that one out. \u003cb>Near Dark\u003c/b> and \u003cb>The Lost Boys\u003c/b> took the vampire out of the cape and put him in a black biker jacket. Fitting.\u003c/p>\n\u003cp>\u003cb>The Vanishing (Spoorloos)\u003c/b>\u003cbr>It’s slow, but has one of the most messed up ending I’ve ever seen. The end of this film stuck with me for months, and I dreaded the possibility of having such a nightmare. The horror comes from its real possibilities: some people are much more frightening than any monster from a Hollywood film. Get the Dutch original, not the lame American remake.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>And the tenth film is my pick of this week: \u003cb>Slither\u003c/b>. From writer/director James Gunn comes this hilarious, disgusting, creepy shocker. Gunn earned his chops working on Troma films such as \u003cb>Tromeo and Juliet\u003c/b>. Then he paid his Hollywood dues working on \u003cb>Scooby Doo\u003c/b> movies. Now, he has made the film he wanted to make, combining the fun of a \u003cb>Sgt. Kabukiman\u003c/b> film and the budget of something that can play in a multiplex.\u003c/p>\n\u003cp>A meteor crashes in the woods. Weird slug-parasites scamper out, and sneak their way into a man’s body. He seems to be fine, but soon, all hell breaks loose. It’s one part \u003cb>Invasion of The Body Snatchers\u003c/b> and one part \u003cb>Evil Dead\u003c/b>. It uses techniques from new and classic horror films for some really nice effects. Some scenes you’ll laugh, but watch through your fingers. Queue it.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>12 DVDs this week. 413 DVDs in 302 days. 87 DVDs left in the next 63 days for a pace of 9.66 per week. I have two at home, so I should be able to get another headstart on the week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 29 days, 16 hours, 8 minutes\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />I'm sure you've figured out by now that I love horror films. There have been lots of picks of the week from me that are horror films and many more that came close. When they're done well, there's little that can match the viewing experience. But more often than not, they're done poorly, as with any genre. Halloween is tomorrow, and many of you out there will pass out candy and watch a scary movie afterwards. A quick trip to your video store will find your favorites taken -- \u003cb>The Exorcist\u003c/b>, \u003cb>Carrie\u003c/b>, \u003cb>The Amityville Horror\u003c/b>, et al -- and leave you picking the remains. So I thought I'd share some underrated favorites of my own. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I’m sure you’ve figured out by now that I love horror films. There have been lots of picks of the week from me that are horror films and many more that came close. When they’re done well, there’s little that can match the viewing experience. But more often than not, they’re done poorly, as with any genre. Halloween is tomorrow, and many of you out there will pass out candy and watch a scary movie afterwards. A quick trip to your video store will find your favorites taken — \u003cb>The Exorcist\u003c/b>, \u003cb>Carrie\u003c/b>, \u003cb>The Amityville Horror\u003c/b>, et al — and leave you picking the remains. So I thought I’d share some underrated favorites of my own. \u003c/p>\n\u003cp>These films are rarely, if ever, on television. They’re all on DVD, but many of them were not on video in the states, or they were hard to find in video stores. All should be available through Netflix.\u003c/p>\n\u003cp>\u003cb>The Changeling\u003c/b>\u003cbr>Long before the influx of Japanese child-ghost films such as \u003cb>The Ring\u003c/b>, there was this truly creepy film starring George C Scott. The whole film finds its fright in lighting, shadows, and cinematography. Never before has a tiny wheelchair covered in cobwebs seemed so frightening. In no time, you’ll hear the sounds of tiny ghosts bumping in your own attic. If you can watch this one by yourself in the dark without getting the willies, you have icewater for blood. \u003c/p>\n\u003cp>\u003cb>Idle Hands\u003c/b>\u003cbr>A comedy horror film — one part teen flick, and one part zombie movie. Adolescence is hard enough without having a murderous hand possessed by an evil spirit. Seth Green steals his scenes, and Jessica Alba looks great in this pre-\u003cb>Dark Angel\u003c/b> role. If you like \u003cb>Buffy the Vampire Slayer\u003c/b>, you’ll like this one.\u003c/p>\n\u003cp>\u003cb>Shadow of the Vampire\u003c/b>\u003cbr>Willem Defoe and John Malkovich team up for this behind-the-scenes ‘what if?’ film about the making of \u003cb>Nosferatu\u003c/b>. What if the lead character in the film really WAS a vampire? Unfortunately, this film barely made back its $8 million budget. If you’ve seen the Herzog \u003cb>Nosferatu\u003c/b>, or the F.W. Murnau original, check this out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Cat People\u003c/b>\u003cbr>Val Lewton’s original film is a classic. Luckily for us, many of his films that were unavailable on video are now re-released on DVD. There’s a boxed set available and you can’t go wrong with any of them, but this one, about a woman who may or may not turn into a panther to hunt her prey, is my favorite.\u003c/p>\n\u003cp>\u003cb>Strait-Jacket\u003c/b>\u003cbr>Bill Castle, whose autobiography \u003cb>Step Right Up, I’m Going To Scare The Pants Off America\u003c/b> is a must read, made this film, which rejuvenated Joan Crawford’s career, about an ax murderer who is released from an asylum after being rehabilitated. But did it work? The screenplay comes from Robert Bloch, the writer of the novel from which\u003cb> Psycho\u003c/b> was adapted. \u003c/p>\n\u003cp>\u003cb>It’s Alive!\u003c/b>\u003cbr>I already wrote up Larry Cohen’s \u003cb>The Stuff\u003c/b> earlier this year, so my Cohen pick is this freaky monster baby film that looks totally dumb on the cover, but works effectively upon viewing. The commentary track by Cohen is like a class in how to make a good low budget horror film. \u003c/p>\n\u003cp>\u003cb>Shivers\u003c/b>\u003cbr>I have to include a Cronenberg film in this list. In this one, weird parasites take over a high rise full of swank 70’s yuppies. Maybe you’ve seen \u003cb>Dead Ringers\u003c/b>, maybe even \u003cb>The Brood\u003c/b>, but I doubt you saw this one, now on DVD in widescreen format.\u003c/p>\n\u003cp>\u003cb>Near Dark\u003c/b>\u003cbr>My favorite vampire film ever. Lance Henriksen and Bill Paxton, among others, are vampires who roadtrip across the country in an RV decked out to protect them from the harmful sun. It’s a nice twist on the standard Vampire film. Have you noticed there are not very many good vampire films at all? I’ve never figured that one out. \u003cb>Near Dark\u003c/b> and \u003cb>The Lost Boys\u003c/b> took the vampire out of the cape and put him in a black biker jacket. Fitting.\u003c/p>\n\u003cp>\u003cb>The Vanishing (Spoorloos)\u003c/b>\u003cbr>It’s slow, but has one of the most messed up ending I’ve ever seen. The end of this film stuck with me for months, and I dreaded the possibility of having such a nightmare. The horror comes from its real possibilities: some people are much more frightening than any monster from a Hollywood film. Get the Dutch original, not the lame American remake.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>And the tenth film is my pick of this week: \u003cb>Slither\u003c/b>. From writer/director James Gunn comes this hilarious, disgusting, creepy shocker. Gunn earned his chops working on Troma films such as \u003cb>Tromeo and Juliet\u003c/b>. Then he paid his Hollywood dues working on \u003cb>Scooby Doo\u003c/b> movies. Now, he has made the film he wanted to make, combining the fun of a \u003cb>Sgt. Kabukiman\u003c/b> film and the budget of something that can play in a multiplex.\u003c/p>\n\u003cp>A meteor crashes in the woods. Weird slug-parasites scamper out, and sneak their way into a man’s body. He seems to be fine, but soon, all hell breaks loose. It’s one part \u003cb>Invasion of The Body Snatchers\u003c/b> and one part \u003cb>Evil Dead\u003c/b>. It uses techniques from new and classic horror films for some really nice effects. Some scenes you’ll laugh, but watch through your fingers. Queue it.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>12 DVDs this week. 413 DVDs in 302 days. 87 DVDs left in the next 63 days for a pace of 9.66 per week. I have two at home, so I should be able to get another headstart on the week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 29 days, 16 hours, 8 minutes\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Q-500 Experiment: Reality TV...movies?",
"headTitle": "Q-500 Experiment: Reality TV…movies? | KQED",
"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>As of now, if you want to watch nothing but reality shows, you can spend every evening watching one or another on television. We are a whole generation beyond \u003cb>Survivor\u003c/b>. There are now shows based on people who were on other reality shows. \u003cb>The Flavor of Love\u003c/b> came from a weird season of \u003cb>The Surreal Life\u003c/b>, and \u003cb>My Fair Brady\u003c/b> stars Adriane Curry, once of \u003cb>America’s Next Top Model\u003c/b>, focusing on her relationship with Christopher “Peter Brady” Knight. There are shows that pit former contestants of one show against the former contestants of another. Then came \u003cb>The Comeback\u003c/b>, Lisa Kudrow’s fake reality show about a sitcom actress trying to make a comeback. Now comes \u003cb>American Dreamz\u003c/b>, a campy comedy that’s a behind the scenes look at an \u003cb>American Idol\u003c/b> type show. \u003c/p>\n\u003cp>Hugh Grant plays the sleazy Simon Cowell-type role. He’s Martin Tweed, the executive producer of \u003cb>American Dreamz\u003c/b>, a hit reality show he could care less about other than the money. He decides for the new season, that he will have a Hasidic Jewish contestant versus an Arabic Muslim contestant. And of course, he wants the all-American girl (Mandy Moore) who has a boyfriend (Chris Klein) who just returned from the Iraq war. If that wasn’t enough for ratings, the President of the United States (Dennis Quaid) is selected as the final round judge at the urging of his advisor (Willem Defoe).\u003c/p>\n\u003cp>Amidst these strong faces and names, newcomer Sam Golzari steals the show as Omer Obeidi. Omer is a reluctant terrorist stationed in the US. Through coincidental luck, he is picked to be on \u003cb>American Dreamz\u003c/b>. Even though he’s coached by his cousin Iqbal, he wouldn’t have a chance if Martin Tweed wasn’t pulling every string and fixing every competition.\u003c/p>\n\u003cp>The comedy reminds me of Mel Brooks. It makes fun of everyone in the film without being mean or taking sides. I would’ve loved to see this as a full season of a sitcom, somewhat like \u003cb>Entourage\u003c/b> or \u003cb>The Comeback\u003c/b>. I’m sure there will be some knockoffs.\u003c/p>\n\u003cp>The big surprise for me is that Mandy Moore can really act. If you haven’t seen \u003cb>Saved!\u003c/b>, queue it up for another fine performance from her. Most people think of her as some teenybop pop star, or Nickelodeon TV personality, which is true, but the girl also has chops. And, she’s grown up. She’s 22 and has a slew of movies coming soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For being genuinely funny, having a great cast, and a theatrical release so small that you probably missed it, this is my pick of the week. Coming in at a close second was Robert Altman’s \u003cb>A Prarie Home Companion\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Last Hundred DVDs I Watched\u003c/b>\u003cbr>I watched DVD 400 on Sunday afternoon, a remarkably boring film called \u003cb>This Thing of Ours\u003c/b>. But I don’t want to talk about that film, I want to talk about the last 100 films I watched. On August 15, I started off with Anthony Mann week, which may have been the last really good week of movies. DVD 301 was \u003cb>The Last Frontier\u003c/b>. I watched 11 Anthony Mann films that week. Most of them were really awesome, but since then, most films I’ve seen have been flat. I think I burned something out in my movie brain. 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The other thing is that they’re just easier to follow.\u003c/p>\n\u003cp>The comments I’m getting on the blog is that I’ve turned a little mean. I think this is accurate. I’m way more critical of good actors who take bad roles, and find myself criticizing their looks and wardrobe, something I never really did before. But I have to find some way to get through all of this, and the snippety snark may save my mental health.\u003c/p>\n\u003cp>Sunday evening, I watched DVD 401, officially starting the descent into the last hundred films of the year. I’m on pace to finish on time, but the holidays and their accompanying weird mail schedules have me concerned. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>11 DVDs this week. 401 DVDs in 295 days. 99 DVDs left in the next 70 days for a pace of 9.90 per week. I’m a little ahead again. 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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />As of now, if you want to watch nothing but reality shows, you can spend every evening watching one or another on television. We are a whole generation beyond \u003cb>Survivor\u003c/b>. There are now shows based on people who were on other reality shows. \u003cb>The Flavor of Love\u003c/b> came from a weird season of \u003cb>The Surreal Life\u003c/b>, and \u003cb>My Fair Brady\u003c/b> stars Adriane Curry, once of \u003cb>America's Next Top Model\u003c/b>, focusing on her relationship with Christopher \"Peter Brady\" Knight. There are shows that pit former contestants of one show against the former contestants of another. Then came \u003cb>The Comeback\u003c/b>, Lisa Kudrow's fake reality show about a sitcom actress trying to make a comeback. Now comes \u003cb>American Dreamz\u003c/b>, a campy comedy that's a behind the scenes look at an \u003cb>American Idol\u003c/b> type show. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>As of now, if you want to watch nothing but reality shows, you can spend every evening watching one or another on television. We are a whole generation beyond \u003cb>Survivor\u003c/b>. There are now shows based on people who were on other reality shows. \u003cb>The Flavor of Love\u003c/b> came from a weird season of \u003cb>The Surreal Life\u003c/b>, and \u003cb>My Fair Brady\u003c/b> stars Adriane Curry, once of \u003cb>America’s Next Top Model\u003c/b>, focusing on her relationship with Christopher “Peter Brady” Knight. There are shows that pit former contestants of one show against the former contestants of another. Then came \u003cb>The Comeback\u003c/b>, Lisa Kudrow’s fake reality show about a sitcom actress trying to make a comeback. Now comes \u003cb>American Dreamz\u003c/b>, a campy comedy that’s a behind the scenes look at an \u003cb>American Idol\u003c/b> type show. \u003c/p>\n\u003cp>Hugh Grant plays the sleazy Simon Cowell-type role. He’s Martin Tweed, the executive producer of \u003cb>American Dreamz\u003c/b>, a hit reality show he could care less about other than the money. He decides for the new season, that he will have a Hasidic Jewish contestant versus an Arabic Muslim contestant. And of course, he wants the all-American girl (Mandy Moore) who has a boyfriend (Chris Klein) who just returned from the Iraq war. If that wasn’t enough for ratings, the President of the United States (Dennis Quaid) is selected as the final round judge at the urging of his advisor (Willem Defoe).\u003c/p>\n\u003cp>Amidst these strong faces and names, newcomer Sam Golzari steals the show as Omer Obeidi. Omer is a reluctant terrorist stationed in the US. Through coincidental luck, he is picked to be on \u003cb>American Dreamz\u003c/b>. Even though he’s coached by his cousin Iqbal, he wouldn’t have a chance if Martin Tweed wasn’t pulling every string and fixing every competition.\u003c/p>\n\u003cp>The comedy reminds me of Mel Brooks. It makes fun of everyone in the film without being mean or taking sides. I would’ve loved to see this as a full season of a sitcom, somewhat like \u003cb>Entourage\u003c/b> or \u003cb>The Comeback\u003c/b>. I’m sure there will be some knockoffs.\u003c/p>\n\u003cp>The big surprise for me is that Mandy Moore can really act. If you haven’t seen \u003cb>Saved!\u003c/b>, queue it up for another fine performance from her. Most people think of her as some teenybop pop star, or Nickelodeon TV personality, which is true, but the girl also has chops. And, she’s grown up. She’s 22 and has a slew of movies coming soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For being genuinely funny, having a great cast, and a theatrical release so small that you probably missed it, this is my pick of the week. Coming in at a close second was Robert Altman’s \u003cb>A Prarie Home Companion\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Last Hundred DVDs I Watched\u003c/b>\u003cbr>I watched DVD 400 on Sunday afternoon, a remarkably boring film called \u003cb>This Thing of Ours\u003c/b>. But I don’t want to talk about that film, I want to talk about the last 100 films I watched. On August 15, I started off with Anthony Mann week, which may have been the last really good week of movies. DVD 301 was \u003cb>The Last Frontier\u003c/b>. I watched 11 Anthony Mann films that week. Most of them were really awesome, but since then, most films I’ve seen have been flat. I think I burned something out in my movie brain. I’m having a really hard time with anything but very simple plots, and I resent those at the same time. I’ve seen a lot of films that I hate that last year I would’ve said were okay. I have little patience for sloppy scenes and poorly written dialogue. \u003c/p>\n\u003cp>Last year, I watched a lot of B movies and independent horror films, but now I’ve swapped most of those out of my queue. Earlier in the year, I watched films by Herzog, Kirousawa, and Argento. I don’t think I have the attention span for these types of auteurs right now, either. So my tastes have turned to the middle. I’ve been watching more TV shows lately. Good ones, but TV shows nonetheless: \u003cb>Rescue Me\u003c/b>, \u003cb>Nip/Tuck\u003c/b>, \u003cb>Titus\u003c/b>, and \u003cb>Everybody Hates Chris\u003c/b>. Part of it, I’m sure, is the familiarity of characters between episodes. The other thing is that they’re just easier to follow.\u003c/p>\n\u003cp>The comments I’m getting on the blog is that I’ve turned a little mean. I think this is accurate. I’m way more critical of good actors who take bad roles, and find myself criticizing their looks and wardrobe, something I never really did before. But I have to find some way to get through all of this, and the snippety snark may save my mental health.\u003c/p>\n\u003cp>Sunday evening, I watched DVD 401, officially starting the descent into the last hundred films of the year. I’m on pace to finish on time, but the holidays and their accompanying weird mail schedules have me concerned. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>11 DVDs this week. 401 DVDs in 295 days. 99 DVDs left in the next 70 days for a pace of 9.90 per week. I’m a little ahead again. I have one DVD left over at home, \u003cb>Deadfall\u003c/b>, that I will watch Monday, so I’ll get an early start. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Total Viewing Time: 28 days, 19 hours, 14 minutes\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Q-500 Experiment: But Is It Art?",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Unlike many alternative comics fans, I think Dan Clowes’ writing has gotten worse over the years. There’s no arguing that his visual art has steadily improved with each new series, but his storylines have flattened out. But with \u003cb>Art School Confidential\u003c/b>, Clowes gives us a screenplay that may be his best written material since \u003cb>Like a Velvet Glove Cast in Iron\u003c/b>. Terry Zwigoff directs with a different kind of humor than he’s shown before.\u003c/p>\n\u003cp>I don’t have time in this short column to give you the rundown of this pair’s careers, but quickly, you should pick up the \u003cb>Eightball\u003c/b> comic, written and drawn by Clowes, and \u003cb>Bad Santa\u003c/b>, the most recent film by director Terry Zwigoff.\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is a satire of the world of expensive art schools. I never went to one of those like Clowes did, but it didn’t matter. It’s funny on its own, and if you have the similar experience, I’m sure it’s hilarious on a bigger level. I did take creative writing classes at SF State, and was ostracized much like the main character when I stated that “language poetry” was total crap, and having my own work dismissed as “barroom poetry.” So there were parallels in the film that worked for me. As per usual, Clowes’ characters are either teenagers or adults who act like teenagers. But what really sets this screenplay apart is that no character has lines any better or worse than any other. Some characters who only get one scene get fantastic lines. Also, there’s one character with spikey blond hair who had some great scenes with no lines, but was awesome. So many films today are filled with characters who only exist as plot devices and speak in exposition.\u003c/p>\n\u003cp>What really made this film great for me was this exchange in the middle of the film, between a director and his auditioning actress. \u003c/p>\n\u003cp>Actress: This is total shit, you know that?\u003cbr>Director: No, I don’t know.\u003cbr>Actress: All this gangsta/mothafucka bullshit. Why do you want to regurgitate this Hollywood crap for the zillionth time? Don’t you have anything original to say?\u003cbr>Director: I think I do…\u003cbr>Actress: Then you need to say it, cuz this is completely worthless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is one of those few scenes that made me back up the film (should we still say rewind when there’s no tape anymore?) and watch it again. Is Zwigoff/Clowes attacking Hollywood in general, or was I correct in feeling that it was aimed at Quentin Tarantino, who commonly collages from other films? Later, the director is dressed much like Kevin Smith. Could this be a grudge going back to the days of Zwigoff’s \u003cb>Crumb\u003c/b>, when the other two directors were the media darlings of independent cinema?\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is the best sendup of the art world since Roger Corman’s \u003cb>Bucket of Blood\u003c/b>. If you haven’t seen \u003cb>Art School Confidential\u003c/b>, it’s my pick of the week. If you have seen it, check out \u003cb>Bucket of Blood\u003c/b>. It’s one of Dick Miller’s few starring roles, set in the world of Beatniks, Coffeehouses…and Murder. For a completely different take on \u003cb>Art School Confidential\u003c/b>, \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=7480\">Read Mark Taylor’s review\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Litquake Recap\u003c/b>\u003cbr>The last night of \u003cb>Litquake\u003c/b> was the best night, as usual. The \u003cb>Litcrawl\u003c/b>, which normally gets rained on, was on a night with fine weather, and Valencia Street was packed. Every reading was elbow to ass. If you showed up one minute late, you were standing outside the door looking in.\u003c/p>\n\u003cp>Chuck Prophet, whom you may remember from the column I wrote last week, friended me on Myspace this week. I didn’t have anything nice to say about him in the article. I friended him back. No hard feelings, Chuck, but seriously, read a book, dude. If you run into me in public, I will take you to the nearest used bookstore, and I’ll help you pick one out. Promise. \u003ca href=\"http://www.myspace.com/buckysinister\" target=\"offsite\">Here’s my Myspace page.\u003c/a>\u003c/p>\n\u003cp>\u003cb>Notes from the Cliché File\u003c/b>\u003cbr>Do police really interview dying people in the hospital? Are there this many witnesses who are this close to death that may be the only link to solving the murder? “Can you tell us ANYTHING else about the man who did this to you?” asks the relentless detective. “He…was…a…(cough)…cop” the man hoarsely whispers as the machines start beeping rapidly. Then the nurse comes in and says, “You two will have to leave now, he needs his rest.” It’s horrible. It’s been done for how long? Forty years? Fifty? Stop it already.\u003c/p>\n\u003cp>\u003cb>My Diminishing Brain\u003c/b>\u003cbr>While watching this many films, sometimes I feel like I’m watching one long film. It doesn’t help when I pick ten films a week randomly and the same people show up in the different films. This week Terry Crews was in both \u003cb>Click\u003c/b> and \u003cb>Everybody Hates Chris\u003c/b>. Nick Swardson was in both \u003cb>Click\u003c/b> and \u003cb>Art School Confidential\u003c/b>. Rory Culkin was in both \u003cb>Down in the Valley\u003c/b> and \u003cb>The Zodiac\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>10 DVDs this week. Columbus Day slowed my mail a bit, but everything worked out. 390 DVDs in 288 days. 110 DVDs left in the next 77 days for a pace of 9.99 per week. Next week I’ll have spent four weeks in the moviehole. Total Viewing Time: 27 days, 23 hours, 35 minutes\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Unlike many alternative comics fans, I think Dan Clowes’ writing has gotten worse over the years. There’s no arguing that his visual art has steadily improved with each new series, but his storylines have flattened out. But with \u003cb>Art School Confidential\u003c/b>, Clowes gives us a screenplay that may be his best written material since \u003cb>Like a Velvet Glove Cast in Iron\u003c/b>. Terry Zwigoff directs with a different kind of humor than he’s shown before.\u003c/p>\n\u003cp>I don’t have time in this short column to give you the rundown of this pair’s careers, but quickly, you should pick up the \u003cb>Eightball\u003c/b> comic, written and drawn by Clowes, and \u003cb>Bad Santa\u003c/b>, the most recent film by director Terry Zwigoff.\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is a satire of the world of expensive art schools. I never went to one of those like Clowes did, but it didn’t matter. It’s funny on its own, and if you have the similar experience, I’m sure it’s hilarious on a bigger level. I did take creative writing classes at SF State, and was ostracized much like the main character when I stated that “language poetry” was total crap, and having my own work dismissed as “barroom poetry.” So there were parallels in the film that worked for me. As per usual, Clowes’ characters are either teenagers or adults who act like teenagers. But what really sets this screenplay apart is that no character has lines any better or worse than any other. Some characters who only get one scene get fantastic lines. Also, there’s one character with spikey blond hair who had some great scenes with no lines, but was awesome. So many films today are filled with characters who only exist as plot devices and speak in exposition.\u003c/p>\n\u003cp>What really made this film great for me was this exchange in the middle of the film, between a director and his auditioning actress. \u003c/p>\n\u003cp>Actress: This is total shit, you know that?\u003cbr>Director: No, I don’t know.\u003cbr>Actress: All this gangsta/mothafucka bullshit. Why do you want to regurgitate this Hollywood crap for the zillionth time? Don’t you have anything original to say?\u003cbr>Director: I think I do…\u003cbr>Actress: Then you need to say it, cuz this is completely worthless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is one of those few scenes that made me back up the film (should we still say rewind when there’s no tape anymore?) and watch it again. Is Zwigoff/Clowes attacking Hollywood in general, or was I correct in feeling that it was aimed at Quentin Tarantino, who commonly collages from other films? Later, the director is dressed much like Kevin Smith. Could this be a grudge going back to the days of Zwigoff’s \u003cb>Crumb\u003c/b>, when the other two directors were the media darlings of independent cinema?\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is the best sendup of the art world since Roger Corman’s \u003cb>Bucket of Blood\u003c/b>. If you haven’t seen \u003cb>Art School Confidential\u003c/b>, it’s my pick of the week. If you have seen it, check out \u003cb>Bucket of Blood\u003c/b>. It’s one of Dick Miller’s few starring roles, set in the world of Beatniks, Coffeehouses…and Murder. For a completely different take on \u003cb>Art School Confidential\u003c/b>, \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=7480\">Read Mark Taylor’s review\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Litquake Recap\u003c/b>\u003cbr>The last night of \u003cb>Litquake\u003c/b> was the best night, as usual. The \u003cb>Litcrawl\u003c/b>, which normally gets rained on, was on a night with fine weather, and Valencia Street was packed. Every reading was elbow to ass. If you showed up one minute late, you were standing outside the door looking in.\u003c/p>\n\u003cp>Chuck Prophet, whom you may remember from the column I wrote last week, friended me on Myspace this week. I didn’t have anything nice to say about him in the article. I friended him back. No hard feelings, Chuck, but seriously, read a book, dude. If you run into me in public, I will take you to the nearest used bookstore, and I’ll help you pick one out. Promise. \u003ca href=\"http://www.myspace.com/buckysinister\" target=\"offsite\">Here’s my Myspace page.\u003c/a>\u003c/p>\n\u003cp>\u003cb>Notes from the Cliché File\u003c/b>\u003cbr>Do police really interview dying people in the hospital? Are there this many witnesses who are this close to death that may be the only link to solving the murder? “Can you tell us ANYTHING else about the man who did this to you?” asks the relentless detective. “He…was…a…(cough)…cop” the man hoarsely whispers as the machines start beeping rapidly. Then the nurse comes in and says, “You two will have to leave now, he needs his rest.” It’s horrible. It’s been done for how long? Forty years? Fifty? Stop it already.\u003c/p>\n\u003cp>\u003cb>My Diminishing Brain\u003c/b>\u003cbr>While watching this many films, sometimes I feel like I’m watching one long film. It doesn’t help when I pick ten films a week randomly and the same people show up in the different films. This week Terry Crews was in both \u003cb>Click\u003c/b> and \u003cb>Everybody Hates Chris\u003c/b>. Nick Swardson was in both \u003cb>Click\u003c/b> and \u003cb>Art School Confidential\u003c/b>. Rory Culkin was in both \u003cb>Down in the Valley\u003c/b> and \u003cb>The Zodiac\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>10 DVDs this week. Columbus Day slowed my mail a bit, but everything worked out. 390 DVDs in 288 days. 110 DVDs left in the next 77 days for a pace of 9.99 per week. Next week I’ll have spent four weeks in the moviehole. Total Viewing Time: 27 days, 23 hours, 35 minutes\u003c/p>\n\n\u003c/div>\u003c/p>",
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