“Even a criminal like myself is shocked that millions are not able to get health insurance and cannot pay for basic surgery. Who are these power brokers that allow the pigpen to become wormy and filthy? I demand your very lives, but I am not such an imbecile as to institutionalize suffering and poverty. You have my assurance that this shall change swiftly.” Three years to go and the 2008 slate is already filling up. For the Dems: Hillary, Biden, Bayh, Warner, and Feingold. For the GOP: Frist, McCain, and Brownback. And, although Chris Walken first seemed to have the Indy vote locked up (let’s face it, Cthulhu‘s missed His shot), word is the inimitable General Zod is now coming on strong. Hmmm. I could definitely see him pulling a Stockdale at some point in the debate. (By way of LinkMachineGo.)
Category: Fanboy
Men of Gondor (and Baltimore).
King Leonidas (Gerard Butler) enlists backup from Faramir and Jimmy McNulty as David Wenham and Dominic West join the cast of 300 — based on Frank Miller’s graphic novel retelling of the Battle of Thermopylae — along with Rodrigo Santoro of Love, Actually and Lena Headey of The Brothers Grimm. 300 Spartans against a million Persians? McNulty had best call up Omar for this one.
We’ll always have New York.
Beauty and the Beast share a private moment in this magnificent teaser image for PJ’s King Kong.
A Long-Expected Party.
“Have you ever been called home by the clear ringing of silver trumpets?” Alas, for the first time in three years, we don’t have a new extended LotR DVD in the works this Christmas. But to ease the pain of its passing, the full, three-disc, 180-minute Fellowship of the Ring score will be released November 22, which will include a DVD-version in 5.1 surround sound. Presumably, the other two films will follow in due course. In the meantime, this site has assembled mp3s of some of the missing musical moments from the trilogy. (Unfortunately, they haven’t yet included the culmination of the Rohan theme, as heard during the Ride of the Rohirrim.) I will go there, I will go there…and back again.
Unsound Methods.

Given the very favorable (and somewhat spoilerish) reviews that David Cronenberg’s A History of Violence has been getting, I went in expecting a great film from this auteur of the disturbing (albeit one without the throbbing, fleshy, pulsating chunks of gristle usually associated with Cronenberg’s oeuvre.) But, while Violence is a good film with some excellent performances — most notably by Viggo Mortensen and Maria Bello — it is not ultimately a great one. In fact, I found it something of a letdown after all the hype. [Be warned: I don’t want to give everything away, but it’s a hard movie to talk about without delving into some very heavy spoilers, including the film’s conclusion.]
I’ve never read the source graphic novel, so I can’t vouch for the deviations in the tale, but it basically goes as follows: Viggo Mortensen is Tom Stall, a hard-working, Midwestern fella who runs the local diner in Smalltown USA. He is loved by his adoring, alluring wife (Bello, exquisite as usual), admired by his two children, respected by the community, and generally living the American dream, as long exemplified in Norman Rockwell paintings and The Saturday Evening Post. (A lot of this corn-fed small-town-America set-up — a little girl’s nightmare, a run-in with a high-school bully — comes off as completely flat and stilted, but I think there’s method in Cronenberg’s madness. What he’s doing is akin to the Naomi Watts/Nancy Drew stuff in the first half of David Lynch’s Mulholland Drive — he’s lulling us in with mundanity to knock us off-kilter later on.)
Anyway, Tom’s picture-perfect life goes awry after he becomes an unwitting “American Hero” media sensation by killing two Bad Men in his diner one evening. (We know they’re Bad Men because one of them blows away a little girl in the first five minutes, which seems like exceedingly cheap and lazy character development.) Soon, scraggly-looking n’er-do-wells like Ed Harris come-a-knockin’, convinced that Tom Stall is not Tom Stall at all, but rather…Aragorn of the Dunedain, Isildur’s Heir and a trained, lethal adversary. Ok, not quite…nevertheless, this case of mistaken identity eventually forces Stall to forego being a man of peace and come to grips with his violent tendencies. And, in true Cronenberg fashion, this violence soon seems to infect Stall’s world like a particularly dangerous viral meme, and threatens to transform forever the lives of he and his family.
Along the way, A History of Violence comments on many significant tropes in the history of violence — “justified” violence, parental violence, marital and sexual violence — culminating in a replay of the original Biblical murder (one which loses much of its force due to William Hurt being an insufferable hambone — Perhaps he and Harris should’ve switched roles.) And, to its credit, it leaves many of these setpieces tantalizingly ambiguous. Was Viggo’s kid right to smash up the bully? How should we feel about the incident on the stairwell? But, for all that, I’m with Edelstein — The larger arc of the story seems cartoonishly black-and-white. Yes, the last scene of the film is an undeniably powerful one, but, really, the Stalls get off easy. If violence, once unleashed, spreads like a wildfire, then how come only Bad People (or at the vey least Deserving People, like the bully) end up on its brunt end? True, Cronenberg shows us the gory consequences of murder (Throbbing Gristle sighting!), but never upon any character that we happen to like.
I can see the argument that the story had to end the way it did — with the Stalls perhaps physically unharmed but in spiritual turmoil — as a commentary on either the standard narrative of the Western (covered similarly in Unforgiven) or on Dubya’s foreign policy, which Cronenberg says is an analogy he and Viggo had in mind. Still, as it is, I think the story’s conclusion subverts the movie’s message. By leaving the white hats shaken, not stirred and the black hats pushing up daisies, A History of Violence ends up suggesting that violence is actually a rather effective way of dealing with Bad People, although it may cost you (sniff) a few tears. All in all, A History of Violence is a much-better-than-average movie and it’s one well worth seeing, but, in the end, I don’t think it quite holds up.

Black Celebration.

As with the wonders of Pixar — indeed, even more so, given the amount of time and effort involved — Tim Burton’s Corpse Bride is such a (literally) eye-popping stop-motion marvel that it seems churlish to quibble with its perhaps just-a-bit-too-formulaic approach. If you loved The Nightmare Before Christmas (as I did), you’ve likely already seen Corpse Bride, and probably loved it also…even if you felt that you’d already seen much of it before (and especially if you ever played Grim Fandango.) Nevertheless, even ensconced as it is in the now-slightly-creaky Burtonverse, Corpse Bride is a sumptuous 75-minute treat that’s skull-and-shoulders above most animated fare.
The story is thus: Much to the chagrin of the aristocratic (but penniless) Everglots (Albert Finney & Joanna Lumley), their daughter Victoria (Emily Watson) is soon to be betrothed to the meek, moon-eyed Victor (Johnny Depp), sire of nouveau-riche and fabulously wealthy fishmongers. Victor and Victoria seem to get on well enough — they both enjoy melancholy etudes on the Harryhausen piano, which should tell you all you need to know about their romantic viability in Tim Burton’s world. But, when Victor is prevailed upon by the local minister (Christopher Lee) to practice his vows in the nearby enchanted forest, he inadvertently awakens — and weds — the Corpse Bride (Helena Bonham Carter), who, despite being undead, is quite a looker…all pillow lips and bedroom eyes (albeit one that’s home to a Peter Lorre-like maggot.) Y’see, apparently long ago a dastardly suitor (Richard Grant) pulled a Kill Bill on the Bride here, and since then she’s been waiting for a bridegroom to free her from his curse, and die with her happily ever after…
If you don’t see where this is going from the opening reel, well, you should get out to the movies more. But that’s neither here nor there — as with life (and, in this film, death), the journey is the reward. At times, Corpse Bride seems entirely too reminiscent of Nightmare — Instead of “ma-king Christ-mas,” the denizens of the Dead are ma-king wed-dings. (Or, when the Dead Elder-fellow (Michael Gough) scratches the hole in his skull, it’s funny…but it also recalls the exact same move by Dr. Finkelstein in the earlier film.) For the most part, though, Corpse Bride is rife with its own inventive flourishes. (I particularly liked the little undead kids at right, the Elder’s raven, and the designs of the aged living.) And I’m willing to forgive sins much more grievous than the mild repetition on display here if it means Burton & co. will keep making stop-motion movies. Their gothic world may always be tinged with the same palette of nightmare and melancholy, but frankly, I’m smitten.

Tesla Men.
DC and Marvel are at it again…Christian Bale and Hugh Jackman are cast as the rival prestidigitators in Christopher Nolan’s version of The Prestige. But which is which?
Mudholes and Apes.
AICN posts screen caps of the Episode III DVD’s deleted scenes, which seem to include an extended (and more grisly) opening and Yoda’s touch-down on Dagobah. Also on the fanboy front, Wired‘s cover story this month is a discussion with a svelte Peter Jackson on King Kong and KongisKing.Net, with accompanying photo gallery. Is Naomi Watts trying to make a run at Tilda’s Nico?
Release the Kraken.
And, would you believe it? Boss DeLay wasn’t the only nefarious and nightmarish tentacled creature to be captured in the past twenty-four hours. For the first time ever, Japanese scientists have succeeded in photographing a giant squid in its natural habitat. (I read about this late last night and had some very disturbing dreams about it. After all, there are older and fouler things than Orcs in the deep places of the world.) [Last link inspired by MysVamp.]
They’ll need a bigger boat.
Richard Dreyfuss revels in his sell-out status in a CHUD interview concerning Wolfgang Petersen’s forthcoming Poseidon Adventure remake. Doesn’t sound like it has Oscar potential, does it?
“Devin: So I understand that you retired from films in 2004. What brought you back?
Dreyfuss: Money.
Devin: OK. But what was it about Poseidon in particular that really got your interest?
Dreyfuss: The money they offered.”