Category Archives: Reviews

Steven Spielberg’s Homage to the Master

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http://childpsychiatryassociates.com/where-to-start/ I’ve never been one for conspiracy theories. But I think I’ve stumbled upon one.

Steven Spielberg was Stanley Kubrick’s prized protege. They talked often, visited each other’s sets, even teamed up to make the underrated film, A.I. Spielberg has always been an immense talent, but let’s face it: Having Stan the Man as your corner cut man is like a writer having Salinger as a writing tutor. If you don’t take advantage of the teachings, you don’t deserve school.

I’ve been doing an inordinate amount of research into Sir Kubrick of late, and discovered a little YouTube nugget of an interview with Spielberg. In it, he sheepishly admitted he did not care for The Shining when he first saw it, and (very) reluctantly told Stanley as much when Kubrick asked his impressions. Only after watching the Jack Nicholson movie a few times, Spielberg spilled in the clip, did he recognize the movie’s genius and, more importantly, its subterfuge.

The Shining, an adaptation of a Stephen King horror movie, is not the haunted house flick audiences (and King) were expecting. I remember Dad’s disappointment when we left the theater. More than 46% of the nation’s critics at the biggest papers in the country gave it a thumbs-down.

Over time, though, its reputation has risen like a zombie with the munchies. Instead of a haunted house story, critics and historians posthumously realized, The Shining is a haunted human story, touching on domestic abuse, alcoholism, even the genocide of the American Indian. The American Film Institute recently named it one of the 30 most thrilling movies in the past century. The AFI also named Jack Nicholson’s Jack Torrance among the top 25 cinematic villains of all-time. What the AFI failed to note is that Poltergeist, the Disney-fied horror film ostensibly made for kids and families, was secretly a dark homage to Stanley from Spielberg, who wrote and produced the movie.

Try it as I accidentally did: Play The Shining theme over any three minutes of Poltergeist, and you’ll see that the whimsical score and sitcom lighting were simply a ploy to get it a PG rating. But when played with a traditional horror score, the movie feels entirely different — and the images are sheer Kubrickian. Here’s a sample. At 1:20, you’ll swear Stanley rose from the dead for the editing booth:

Now for something less theoretical, FactSlaps:

  • Chinese princess Xin Zhui’s body, who died in 163 BCE, is so well preserved that her skin is still soft her arms and legs can bend, and her internal organs are still intact.Image result for Xin Zhui'
  • Camels gave humans the common cold.Image result for camels have humans the common cold
  • Science knows more about coffee, wine and tomatoes than it does about breast milk.
  • Hugh Jackman was a party clown before being famous.Image result for hugh jackman party clown
  • More people watch online video game play than major cable networks and subscription entertainment services.Image result for people watching video game
  • The Burj Khalifa, the world’s tallest structure, stands 2,716 feet tall. It has 24,000 windows, contains 393,000 cubic yards of concrete and took 22 million man hours to build.Image result for what is The Burj Khalifa?
  • World renowned cellist Yo Yo Ma once left his 266 year old cello, worth $2.5 million, in the back of a NYC taxi. It was returned to him in time for his evening concert.Image result for Yo yo ma's $2 million cello

The Death of the Hollywood Twist

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Two months months ago, while working a story on M. Night Shyamalan’s career, I called up every internet clip and video analysis I could find about the director, who is known for his twist endings (The Sixth Sense, Unbreakable, Signs).

In the course of reporting the story, a prelude to Shyamalan’s latest film, Glass, I came upon a number of videos breaking down the new film — including the twist ending — which hadn’t even been released yet.

That didn’t stop sneak preview viewers from spilling more than the twist ending. The videos spelled out every twist. Every unexpected turn was revealed, dissected and analyzed. There were a half-dozen surprises in the film, at least. Some video critics warned they were going to spill the movie’s  secrets. Some did not.

By the time I walked into the movie, I knew every turn the flick was going to make, from character revelations to battle outcomes.

I enjoyed the movie, but couldn’t help but wonder whether spoilers had cast a shadow of bias over my viewing. It certainly ensured a surprise-free couple of hours. Tension was a non-factor. Still, the spoilers had alerted me to Shyamalan’s break from comic book tradition with Glass — which perhaps biased me to like the movie.

Regardless of this particular movie, spoilers have become such a reality in film that, to enjoy one, you pretty much have to avoid computers, cell phones and TV sets till you’ve seen the film.

What would Hitchcock think about the development, I wondered. This has to be crazy-making for suspense directors like Shyamalan, John Carpenter, West Craven, and on. Just this weekend, Jordan Peele’s movie Us raked in $70 million on its opening weekend, breaking multiple records for a suspense film. So spoilers didn’t appear to hurt the bottom line.

Still, on a lark, I decided to do similar research Saturday on the movie, which ends with a twist on which the film squarely rests.

So I turned on YouTube. The first video recommended was entitled “The ending of Us explained.” The video was done by a group called Looper, a wildly popular movie website and online channel. The movie opened at midnight Thursday. The video was posted about 4 p.m. ET on Friday. Within its first four hours, it had more than 15,000 views.

The video aired without warning viewers of spoilers ahead, and the six-minute video broke down every key scene in the flick, as well as the identity of the mysterious villain. A cursory look uncovered a half dozen other similar videos. Then I went to Wikipedia and looked up the movie. There, too, was a page-long synopsis of the movie, including the surprise ending. All within 36 hours of its opening.

What’s happening here? Remember when you had to hear someone tell you of  The Sixth Sense! Or The Crying Game? Go all the way back to Citizen Kane or Psycho; Some of Hollywood’s most iconic moments stem from rugs being pulled beneath viewers’ feet. Imagine your reaction if a friend told you in the mid-80’s, “You gotta see The Empire Strikes Back! It’s got great effects! And I can’t believe Darth Vader is Luke Skywalker’s father!” (oh, spoiler alert). You’d likely punch your friend in the face.

But spoilers have become so pervasive in movies some YouTubers are recording their reactions literally seconds after stepping from the theaters. And perhaps that’s inevitable. Maybe word-of-mouth is like the phone booth and mailbox; short for this world. Our laptops have become our water coolers, Facebook our hair salons, Twitter our barber shops.

The overall effect on movies is hard to gauge, though some signs are ominous. A recent study by VU University Amsterdam in the Netherlands found that spoilers may not ruin an experience entirely, but can reduce suspense and decrease overall enjoyment of a film.

In a study of 412 college students, scientists found that movies that had been spoiled were rated as less moving, less thought provoking, and less successful at drawing the viewer into a narrative world and providing an immersive experience. The effects of story spoilers were “consistently negative,” Benjamin Johnson, an assistant professor and study coordinator, said in a statement.

“Our study is the first to show that people’s widespread beliefs about spoilers being harmful are actually well-founded and not a myth,” Johnson said. “Instead, we surprisingly found that for all the outcomes, spoilers were detrimental.”

The study did not recommend solutions, nor even suggest one was possible in the immediacy of an internet era. But Hollywood may have no choice but to act: Despite annual box office records, most of the increase is due to inflation. Actual movie attendance is down about 10% over the last 20 years, according to BoxOfficeMojo.com. If that trend continue, studios may be on the receiving end of a disastrous spoiler.

 

 

To Tubby Little Gingers

Review: Ricky Gervais gets spiny and squishy in the Netflix comedy ‘After Life’

Ricky Gervais flourishes in the awkward moment: the uncomfortable silence of a stiff conversation; a tasteless joke that lands with a thud; the boss who tries too hard to impress employees.  That all-too-familiar discomfit works magically on his TV shows and his four stints hosting the Golden Globes,  and less smoothly in his scripted films, which have a record of spotty box office performances.

Luckily, Gervais is back in his uncomfortable wheelhouse with After Life, a new series streaming on Netflix. The show bounces gleefully from hilarity to heartbreak, tenderness to tasteless, absurdity to absolutely inspired in this story about a widower trying to regain emotional balance in what is Gervais’ best role since he created The Office with Stephen Merchant.

Gervais plays Tony, who works on a free British newspaper in a small town, run by his exasperated but indulgent brother-in-law Matt (Tom Basden). Tony’s works the human interest beat, so it doesn’t help that, angry and depressed over the loss of his wife to cancer, he regards humanity as “a plague.” Reluctantly present at work and mildly suicidal outside of it, Tony is a mess at home, pouring cold cereal into a glass because all the bowls are dirty and eating it with water because he’s forgotten to buy milk. All that makes him happy is watching videos of late wife Lisa (Kerry Godliman) and walking his dog.

The tragedy leads Tony to a fateful decision — to do or say whatever he feels because nothing matters anymore (a similar motif to his 2009 film The Invention of Lying).  While the film was a flop, the premise blends naturally with Gervais on the small screen, where his subtle comic timing is impeccable as he reports local “stories” about oddball townsfolk. And his everyday interactions with them are even funnier.

Tony has a spiny shell but a soft center (which could be said of Gervais’ work as a whole) and the show is a series of transgressions and apologies. Tony’s happiness has been replaced by frustrations, irritations, and hopelessness. Tony nearly loses his mind when a man eats his chips too loudly in a pub. He walks by a grade school, where he calls one kid a “tubby little ginger” and moves on, unfazed. When he’s mugged by two older kids, Tony doesn’t hesitate to punch one in the mouth — if they stab him, who cares? He’s got nothing left to live for.

Like The Office, After Life is brimming with delicious side characters — Gervais may be better at creating characters than playing one. Among them are advertising manager Kath (Diane Morgan), with whom Tony debates God, photographer Lenny (Tony Way), whom Tony compares to a cross between Shrek and Jabba the Hutt, and the remarkable Ashley Jensen (who was the soul of Extras) as the nurse caring for Tony’s father. There’s also the likable town junkie (Tim Plester),  the friendly town “sex worker” (Roisin Conaty), and the nosy town postman (Joe Wilkinson).Image result for tom plester after life

The “stories,” too, are not only hilarious, but quite on the nose for small newspapers: A man who received the same birthday card from five people; a couple whose baby looks like Hitler (though only because they have painted a mustache on him and combed his hair forward); and a woman who sells rice pudding made with her own breast milk.

After Life stumbles in a couple areas, particularly grief. We feel for Tony not because he’s established himself as brokenhearted, but because he says so often how said he is. And Gervais uses a couple of his characters for weak strawman debates over his some of his favorite talking points, from atheism to coping with death to common public courtesy. Anyone familiar with Gervais’ humor will see bits of his stand-up routine in After Life.

The series’ intentions boil down to personal accountability and humanity’s responsibility to itself. Midway through the season, Tony is told the meaning of life: “All we’ve got is each other. We’ve got to help each other struggle through until we die, and then we’re done. No point in feeling sorry for yourself and making everyone else unhappy, too.” It’s a common message in the show, and occasionally sounds a bit like a Hallmark card. But that doesn’t make the sentiments any less true or Gervais’ work any less thoughtful and often compelling.