So I am trying to catch up on my movie reviews. Most of my days are spent at the library and at Starbucks' preparing for the bar exam, but I decided early on that I would not sacrifice my enjoyment of the summer movie season. After all, we all need SOMETHING to keep our sanity. As I mentioned in the last post, I have been very impressed with the summer movie season so far. It is a far cry from the horrible season of 2 years ago, and it did not fall victim to having a weak start a la "Spider-Man 3" and "Shrek the Third" last year. This year, the variety of offerings from Hollywood from week to week has been a joy to experience. With the exception of "Speed Racer" and (I hear) "The Happening", Hollywood has been hitting it out of the park. Now, this past Friday, I faced a bit of a conundrum. Two very disparate films were being released. Would I see "Wanted" or would I see "Wall-E"? The solution? See both! I had not taken in a double feature in years, but when I went to buy my tickets, I looked for movie times that were spread out enough for me to go to one and then the other. I then purchased my tickets (yes, I bought tickets for both of my movies as going from one movie to another in a multiplex while paying for only one is something called STEALING). "Wanted" was first on the agenda, and as you may have read here, it was a joy to behold. With 15 minutes to spare, I made my way out of the theater showing "Wanted" and walked 2 theaters down for that screen's showing of "Wall-E". There were a lot of families there, but as is usually the case with Pixar offerings, there were also scores of adults. Pixar has supplanted Disney as the purveyor of perfect animated films. While many other studios view computer animation as a means to an end ("lets put in loads of sight gags and pop culture references with funny animals and make a ton on opening weekend and dvd"), Pixar's artisans craft their stories carefully. The opening stirrings of artistry for any Pixar film are most easily found in the computers of the writers and not the animators. Pixar films all possess "heart", that certain something that touches the emotional cores of the movie going public. This has been evidence mostly in past Pixar successes as the "Toy Story" films, "Monsters, Inc.", and "The Incredibles" (the film that, up until yesterday, was my favorite Pixar film). Yes, I said was, for the crown is now worn by "Wall-E."
So what makes "Wall-E" a special film? I will admit that when I first heard that Pixar was making a film where there would be a relative dearth of dialogue, I was skeptical. It seemed as if Pixar was going to make an arthouse animation film, and I was worried that their track record (already on shaky ground after such lesser efforts as "Cars" and to a lesser extent, "Ratatouille"), would be forever tarnished by some inane glory project from Andrew Stanton. I should have had more faith in Pixar, and I could not have been happier to be wrong. "Wall-E" was a true joy to experience. Yes, I said EXPERIENCE. Within 5 minutes of being introduced to the star of the film, the Waste Allocation Load Lifter-Earth Class, I was rooting for the little guy. HIs life was one of solitude for 700 years, with his only companion of late being an intrepid cockroach (similar to the cricket from Disney's "Mulan"). Wall-E has a heart and is a sentient robot cheerfully finding beauty in the mundane and carefully living his life. The animators gave him a heart and gave moviegoers someone to cheer for. Wall-E's happy solitary existence comes to an end when the Extraterrestrial Vegetation Evaluator (Eve) comes to the planet. For Wall-E, a fan of the classic musical, "Hello, Dolly," it was love at first sight. Seeing the robot courtship was exceedingly sweet. Who knew that watching animated robots fall in love would be so effecting? About halfway through the film, I realized that I was watching something truly special. I am, at heart, a romantic who has been feeling a bit jaded lately. When one turns on the television or goes to the movies, cinematic depictions of love have slowly given way to cinematic depictions of lust. Where has the romance gone? Apparently, the folks at Pixar went on a quest and discovered its hiding place. The simplest expression of affection, 2 beings in love holding hands, is the be-all/end-all for poor Wall-E. He looks after Eve when she needs it, follows her on a grand adventure to a ship holding the rest of humanity, and changes everything for the better, having an effect on everyone and everything he encounters. Halfway through the film, there was a moment that could have belonged in any Astaire/Rogers or Gene Kelly musical. In that instant, I recognized that I was watching a modern romance classic. I was then wishing that I had gone to the film with a date. Now, there is much about the plot (the deterioration of man, man's trashing of the planet Earth with the help of a global Wal-Mart-type conglomerate, and the lessons that the robots teach the humans) that I could get into, but in the end, it is a wonderful love story. I will also cop to getting teary-eyed a couple of times during the film. I remember thinking "where the heck is this coming from?" And when I realized how much I cared for the characters and how much I was rooting for Wall-E and Eve (who reciprocates in a big way later in the film), I knew that the film had me in its grasp. The film had its share of Apple and "2001: A Space Odyssey" in-jokes, but the heart of the story was Wall-E and Eve's relationship.
In addition to the previously mentioned scene (look for a scene where Wall-E and Eve are in space outside of the Axiom), 2 other scenes grabbed me by the throat. The first scene was when Eve was reviewing her security camera logs while she was indisposed while waiting for pick up. She sees how Wall-E looked out for her and suffered for her, and Eve responds to the videos. It was a beautiful sequence. The final scene that just pushed me over the edge was Eve's panic near the end. I will not share more because to do so might ruin the film for those of you who will see it (and that should be EVERYONE, folks), but the way the scene resolves itself had the audience in my theater cheering and clapping. I kid you not. What a great film. This is, so far, my favorite film of the year. Bravo, Pixar.
This is a perfect date film. Do not see this movie without one!
Saturday, June 28, 2008
Friday, June 27, 2008
Movie Review Catch-up: Wanted
Hi All:
I have been remiss in my movie reviews. I still have to write my review of "Get Smart", and I will have a review of "Wall-E" posted tomorrow, but today I thought that I would regale you with a review of "Wanted."
There is something special about assassin films-those films that feature, at their heart, a cold blooded gun for hire who is an expert at what he or she does. There have been the good ("Casino Royale", "The Day of the Jackal", "The Manchurian Candidate (original)", "In the Line of Fire", and the "Bourne" films), the bad (any film where Stallone is an assassin-see "Assassins" and "The Specialist"), and the ugly (any film where Antonio Banderas is an assassin-see "Assassins" -actually, DON'T see "Assassins" and the deplorable "Ballistic: Ecks vs. Sever.") Heck, I was even a sucker for "Mr. and Mrs. Smith", but that had more to do with the way Angelina Jolie kicked ass while wearing heels. At the same time, most assassin films are rather pedestrian and predictable. The scripts consist of cat and mouse games (good assassin vs. bad assassin, cop vs assassin, etc), and the action occurs in the various face-offs between the parties involved. There really has not been a quantum leap in action films since the time of John Woo's great heroic bloodshed films from his Hong Kong years and "The Matrix", which introduced us to the amazing "wire-fu" work of Hong Kong special effects maestro Yuen Woo Ping. The action films of the 80s forced us to leave our brains at the door in order to catch the latest film where Arnold said "I'll be back" (Dude, he said "I'll be back!" Awesome-our expectations were low). With the introduction of John Woo's HK films and the Wachowski Brothers, the action films of the late 90s and early 00s have definitely taken on an "Eastern" sort of flare. "Batman Begins", "Kill Bill", and even the last "Lethal Weapon" film borrowed heavily from the action films of Hong Kong. With each film, however, the law of diminishing returns seemed to be in effect. How can a writer and a director convince an audience of the intensity of an action scene where audience s have become adept at picking out CGI? That is easy. EMPHASIZE THE STORY. I am happy to say that story is making a comeback. Don't believe me? Witness the riches of this summer movie season. I have now watched "Iron Man", "The Incredible Hulk", "Sex and the City", "Get Smart", "Indiana Jones and the Kingdom of the Crystal Skull", "Wall-E", and "Wanted." The thing that marked all of them (except, surprisingly, the Indiana Jones film) is how the story is the thing and how the special effects and action sequences are truly in service to the story. As the audiences become more and more sophisticated, the filmmakers are finally rising to the occasion and treating their audiences to amazing spectacle rooted in engrossing story telling. One of the best ways to accomplish this is to adapt a story from another medium. Comic books are a great source because the story starts out storyboarded for the screenwriters and the filmmakers. Of course, choosing the right property is the key.
Enter Mark Millar. Now, many of you may not be familiar with this comics writer, but if you have seen "Iron Man" and "The Incredible Hulk", his imprint is everywhere. The stories he has crafted for Marvel's Ultimate universe form the backbone for the greater Marvel Universe that has been created in their 2 films this summer. Millar's third property for the summer is an entirely original creation from Millar's demented mind. Millar treats his comics audience with derision. He loves to mess with sacred cows and give the proverbial finger to comics fans everywhere, but the fanboys always tend to eat it up. Nowhere was this more apparent than in his graphic novel for "Wanted." Of course, the overall story of "Wanted" was indeed intriguing. As the trailers tell us, "Wanted" is the story of an everyman stuck in a dreary existence who, one day, learns that his father was a member of a centuries-old brotherhood of assassins named the Fraternity. The members are marked by a physical condition that allows them to, for short periods of time, accelerate their heart rates, create more adrenaline, and actively control their bodies in ways that ordinary men cannot. Seeking meaning in his meaningless existence, the young man embraces his new lifestyle with vigor, seeking to avenge the murder of his predecessor, who also happens to be his father.
Now, up until this point, the story seems very predictable, right? I mean, one can almost see that the assassin will train and kill up until the point where the climax of the film is a mano-e- mano showdown with the villain who killed his Dad.
Strangely, something happened on the way to predictability. After taking us through the opening story arc with breakneck speed, dazzling stunts (real stunts married with CGI), and an engrossing, if predictable, story. the film's story changed 2/3 of the way through the film. It was as if the director, who had led us into a false sense of complacency, decided to pull the rug out from under the audience and lead it into a completely new direction. The result was a thrill ride with an amazing action set piece near the end and a thoroughly satisfying conclusion.
I loved it.
Now, this is definitely one of those films that follows comic book science. This means that one should not try to reconcile the physics of reality with the physics within this film's universe. The actors were all top notch, especially the big 3 of Morgan Freeman, Angelina Jolie, and James McAvoy. The action was spread out throughout the film and was in service to the story. More importantly, we see people getting hurt and injured, with scars to show for it. I loved the global feel of the film as well. Though the f ilm was based in Chicago, we get to see the home of the Fraternity in Europe and an AMAZING train wreck/action sequence. I would also be remiss if I did not mention the wonderful soundtrack. Until now, Danny Elfman's work always seemed rather pedestrian, with instantly recognizable musical cues spread out through all of his work with Tim Burton and others. I was, therefore, shocked when I saw Elfman's name in the credits. Elfman not only created the orchestral music for the film; the former Oingo Boingo singer also contributed an original song for the soundtrack, the instantly memorable "The Little Things." Throw in a perfect Nine Inch Nails song played over the films coda ("Every Day is Exactly the Same") and you get a soundtrack that is instantly memorable. This was a fun thrill ride, and I cannot wait for the blu-ray to come out. I think that I will be revisiting the universe of "Wanted" for many years to come. I am still stunned with how the film ended. Having watched so many films over the years, it is not often that a film can surprise me. When films succeed in this, they deserve special mention. A lot has been made with how the film "borrows heavily" from "Fight Club" and "The Matrix." FALSE-such accusations are the work of lazy reviewers. If you are in the mood for a thrill ride with great action and a story replete with twists and turns, then "Wanted" is the film for you.
What a fun movie!
I have been remiss in my movie reviews. I still have to write my review of "Get Smart", and I will have a review of "Wall-E" posted tomorrow, but today I thought that I would regale you with a review of "Wanted."
There is something special about assassin films-those films that feature, at their heart, a cold blooded gun for hire who is an expert at what he or she does. There have been the good ("Casino Royale", "The Day of the Jackal", "The Manchurian Candidate (original)", "In the Line of Fire", and the "Bourne" films), the bad (any film where Stallone is an assassin-see "Assassins" and "The Specialist"), and the ugly (any film where Antonio Banderas is an assassin-see "Assassins" -actually, DON'T see "Assassins" and the deplorable "Ballistic: Ecks vs. Sever.") Heck, I was even a sucker for "Mr. and Mrs. Smith", but that had more to do with the way Angelina Jolie kicked ass while wearing heels. At the same time, most assassin films are rather pedestrian and predictable. The scripts consist of cat and mouse games (good assassin vs. bad assassin, cop vs assassin, etc), and the action occurs in the various face-offs between the parties involved. There really has not been a quantum leap in action films since the time of John Woo's great heroic bloodshed films from his Hong Kong years and "The Matrix", which introduced us to the amazing "wire-fu" work of Hong Kong special effects maestro Yuen Woo Ping. The action films of the 80s forced us to leave our brains at the door in order to catch the latest film where Arnold said "I'll be back" (Dude, he said "I'll be back!" Awesome-our expectations were low). With the introduction of John Woo's HK films and the Wachowski Brothers, the action films of the late 90s and early 00s have definitely taken on an "Eastern" sort of flare. "Batman Begins", "Kill Bill", and even the last "Lethal Weapon" film borrowed heavily from the action films of Hong Kong. With each film, however, the law of diminishing returns seemed to be in effect. How can a writer and a director convince an audience of the intensity of an action scene where audience s have become adept at picking out CGI? That is easy. EMPHASIZE THE STORY. I am happy to say that story is making a comeback. Don't believe me? Witness the riches of this summer movie season. I have now watched "Iron Man", "The Incredible Hulk", "Sex and the City", "Get Smart", "Indiana Jones and the Kingdom of the Crystal Skull", "Wall-E", and "Wanted." The thing that marked all of them (except, surprisingly, the Indiana Jones film) is how the story is the thing and how the special effects and action sequences are truly in service to the story. As the audiences become more and more sophisticated, the filmmakers are finally rising to the occasion and treating their audiences to amazing spectacle rooted in engrossing story telling. One of the best ways to accomplish this is to adapt a story from another medium. Comic books are a great source because the story starts out storyboarded for the screenwriters and the filmmakers. Of course, choosing the right property is the key.
Enter Mark Millar. Now, many of you may not be familiar with this comics writer, but if you have seen "Iron Man" and "The Incredible Hulk", his imprint is everywhere. The stories he has crafted for Marvel's Ultimate universe form the backbone for the greater Marvel Universe that has been created in their 2 films this summer. Millar's third property for the summer is an entirely original creation from Millar's demented mind. Millar treats his comics audience with derision. He loves to mess with sacred cows and give the proverbial finger to comics fans everywhere, but the fanboys always tend to eat it up. Nowhere was this more apparent than in his graphic novel for "Wanted." Of course, the overall story of "Wanted" was indeed intriguing. As the trailers tell us, "Wanted" is the story of an everyman stuck in a dreary existence who, one day, learns that his father was a member of a centuries-old brotherhood of assassins named the Fraternity. The members are marked by a physical condition that allows them to, for short periods of time, accelerate their heart rates, create more adrenaline, and actively control their bodies in ways that ordinary men cannot. Seeking meaning in his meaningless existence, the young man embraces his new lifestyle with vigor, seeking to avenge the murder of his predecessor, who also happens to be his father.
Now, up until this point, the story seems very predictable, right? I mean, one can almost see that the assassin will train and kill up until the point where the climax of the film is a mano-e- mano showdown with the villain who killed his Dad.
Strangely, something happened on the way to predictability. After taking us through the opening story arc with breakneck speed, dazzling stunts (real stunts married with CGI), and an engrossing, if predictable, story. the film's story changed 2/3 of the way through the film. It was as if the director, who had led us into a false sense of complacency, decided to pull the rug out from under the audience and lead it into a completely new direction. The result was a thrill ride with an amazing action set piece near the end and a thoroughly satisfying conclusion.
I loved it.
Now, this is definitely one of those films that follows comic book science. This means that one should not try to reconcile the physics of reality with the physics within this film's universe. The actors were all top notch, especially the big 3 of Morgan Freeman, Angelina Jolie, and James McAvoy. The action was spread out throughout the film and was in service to the story. More importantly, we see people getting hurt and injured, with scars to show for it. I loved the global feel of the film as well. Though the f ilm was based in Chicago, we get to see the home of the Fraternity in Europe and an AMAZING train wreck/action sequence. I would also be remiss if I did not mention the wonderful soundtrack. Until now, Danny Elfman's work always seemed rather pedestrian, with instantly recognizable musical cues spread out through all of his work with Tim Burton and others. I was, therefore, shocked when I saw Elfman's name in the credits. Elfman not only created the orchestral music for the film; the former Oingo Boingo singer also contributed an original song for the soundtrack, the instantly memorable "The Little Things." Throw in a perfect Nine Inch Nails song played over the films coda ("Every Day is Exactly the Same") and you get a soundtrack that is instantly memorable. This was a fun thrill ride, and I cannot wait for the blu-ray to come out. I think that I will be revisiting the universe of "Wanted" for many years to come. I am still stunned with how the film ended. Having watched so many films over the years, it is not often that a film can surprise me. When films succeed in this, they deserve special mention. A lot has been made with how the film "borrows heavily" from "Fight Club" and "The Matrix." FALSE-such accusations are the work of lazy reviewers. If you are in the mood for a thrill ride with great action and a story replete with twists and turns, then "Wanted" is the film for you.
What a fun movie!
Sunday, June 22, 2008
A Scary Glimpse of What Might Have Been
I think that deep down, most of us have a personality aspect that can best be described as "the a-hole." The a-hole is the side of us that we keep hidden for the most part, but when we become angry, outraged, bitchy, whiny, tired, stressed, irritated, hurt, confused, and lost, the a-hole comes roaring to the surface. Most of us are able to "quell the beast within us" (sounds like the Hulk, huh?); however, there are a certain few who can be counted on to be the a-hole at the party, the person so narcissistic that every comment he makes is a cutting one about someone in the company. You all know this guy. In addition to being an a-hole, this guy is a pompous know-it-all who is driven to know more about everything than anyone could EVER know. This is the guy who ruins your time with your friends, for while you are in his presence, all you can think about doing is getting as far away as possible.
Now, truth be told, I used to be that guy. It all started as a defensive mechanism that grew out of a betrayal by my best friend in high school. Soon, I became quite adept at a-hole behavior; after all, if you cause everyone to dislike you, the possibility of betrayal is minimal, right? What started out as a defensive mechanism turned into full blown a-hole performances by college. It was only due to an intervention of sorts by my college roommate that I was able to recognize the person I was becoming. I looked in the mirror, and I did not like what I saw. That day, I swore that I would bury that persona as deep as I could, only releasing him during those moments where his presence was necessary. For the most part, I'd like to think that I have succeeded. Of course, whenever I am stressed, depressed, or worried about something, a-hole sometimes pokes his head up in all of his fury. I have endeavored to tell my friends to call me on it whenever that persona rears its ugly head. Two of my fellow bloggers have seen this persona. Legal Lucy's first experience interacting with me was when I was in full on a-hole mode due to a stressful meeting of scholarship kids at law school. To her credit (and because she is an awesome person), she gave me another chance, and I was able to show her the kind of person I really am. I would like to think that, since then, Lucy has been spared exposure to the a-hole persona of the Artful Blogger (how about it, Lucy?). The person who has seen the a-hole the most is Missy, and this has nothing to do with her personally. Missy is my oldest (well, longest term, at least) Chicago friend. For the most part, I tend to be guarded around most people, but I can always be honest around Missy. I think that she was a bit confused early on by what she perceived as an almost schizophrenic personality on my part. Sometimes she would get the real Artful and sometimes she would not even recognize me. I realized that, as Missy was my close friend, I tended to go to her whenever I was stressed about something. After she called me on it, I told her to give me a verbal slap whenever I was in this mode. Of all of my friends, Missy is least deserving of this ugly persona of mine. Kudos to both Missy and Lucy for hanging in there and being my friends. I know it has not always been easy! As I said, however, I have endeavored to control this persona, but I have always wondered what kind of person I would have been without the timely intervention of my college roommate and the patience of my friends since then. Last night, I came face to face with "Dr. A-hole". There but for the grace of God go I...
As many of you may know, my brother is getting married in August. In celebration, one of his groomsmen arranged a dinner for all of the groom's party in Chicago. He made reservations at Spiaggia, a very nice (and expensive) Italian restaurant off of Michigan Avenue in Chicago. One of the other members of the party and I are not exactly in the best of financial situations right now. When compared to the rest of the party (4 doctors and the head of a large IT company), we were definitely on the low end of the income pool. However, we figured that we would have enough if we watched the amount of wine that was ordered and were careful about our own orders. Everyone met at the world famous Drake Hotel, as some of the party wanted to have cocktails before dinner. I met everyone there, and it was there that the organizer (the aforementioned Dr. A-hole) started in on me and everyone else in the party. I was taken aback. I mean, I am not above giving my buddies grief and accepting grief in turn from said buddies because we know each other pretty well. I had no such connection with Dr. A-hole. I mean, what made him think that he had the right to joke with me in such a demeaning manner? He had not earned the right, and I had given him no cause to be so vicious. During the course of the evening, in rapid fire succession, Dr. A-hole proceeded to attack 1) my education/degrees/longevity in school, 2) my appearance, 3) my age, and 4) my knowledge. Of course, as I mentioned, the other members of the party were not spared either. I was, at that time, still calm, however. I figured that he would probably calm down at dinner. After all, he could not be so shallow as to take attention away from my brother, the real guest of honor, right? Who would be so obtuse?
Dr. A-hole, that's who! He proceeded to attack my brother's ex-wife as being too "manly", make derogatory comments about my sexual orientation because I am not married or engaged, the business acumen of said IT CEO, and everyone else's taste in food or wine (save his own, of course). Dr. A-hole, upon being seated, proceeded to order wine for the table without checking with the other members of the party first to see if we were willing to entrust him with this task or to see if we were willing to pay for lots of wine. Dr. A-hole proceeded, unknown to us, to order a $300 bottle of wine. Of course, when the bill arrived, Dr. A-hole was silent as to his own responsibility. During dinner, I mostly ignored him. He was trying to instigate something between the two of us, and for the life of me I could not figure out why. Was he jealous of the fact that I was my brother's brother and not him? Was he jealous of me? Was he just that insecure? I ignored him, for he was being an ignoramus and that was the most logical course of action. Internally, however, I found myself amused by his assertions on the proper way to raise children (he and his wife have none). I amused myself by texting various other members of the table with my observations on Dr. A-hole. Was that rude of me? You bet it was, and I do regret my juvenile behavior. At the same time, the texting proved to be a valuable safety valve for me, as I was close to losing my temper at the table. This was my brother's night, however, and I was determined not to let Dr. A-hole ruin it. I mean it. I am not a violent person by nature, but Dr. A-hole will never know how close he came to receiving a bloody nose at a 5 star Chicago restaurant. Yup.
The strangest part of the evening was when he started in on my brother's ex wife. His comments on her made me the most irritated. She and I never really got along, but I understood her. She was a woman in the male dominated field of orthopedic surgery. She, unfairly, had to be better than her male counterparts in order to be considered equal. As I remember it, she was able to balance that drive for excellence with a liberal dose of feminine elegance. For a time, she was a good wife and partner for my brother. Dr. A-hole did not know her that well, yet he proceeded to attack her as being " too manly." The irony here is that Dr. A-hole's wife is extremely manly-to the point where we were all thinking, for a time, that she might have been a "beard" of sorts for Dr. A-hole. And now he was attacking my brother's ex? My brother is still friendly with his ex, and I could tell that Dr. A-hole's comments were irritating my brother, but to his credit, he said nothing.
After dinner, I cut the evening short. Because I am studying for the bar, I have precious little free time, and I had no intention of letting Dr. A-hole ruin what little free time I had. When I returned home, I reflected on Dr. A-hole and how much he reminded me of the person I used to be. I was such a little brat, and I will forever be grateful to my college roommate and, to a certain extent, my big bro for straightening me out. I saw a lot of the OLD Artful in Dr. A-hole, and I shudder to think of what I might have become without the support and understanding of my friends. So for all of you out there, I invite you to join in and call me out when you see me manifest tendencies of Dr. A-hole. I promise that I will not get mad. I see it as a part of my journey to be a better person. It is far better for me to deal with the brief embarrassment of being called out rather than being thought of as a person like the inimitable Dr. A-hole.
Now, truth be told, I used to be that guy. It all started as a defensive mechanism that grew out of a betrayal by my best friend in high school. Soon, I became quite adept at a-hole behavior; after all, if you cause everyone to dislike you, the possibility of betrayal is minimal, right? What started out as a defensive mechanism turned into full blown a-hole performances by college. It was only due to an intervention of sorts by my college roommate that I was able to recognize the person I was becoming. I looked in the mirror, and I did not like what I saw. That day, I swore that I would bury that persona as deep as I could, only releasing him during those moments where his presence was necessary. For the most part, I'd like to think that I have succeeded. Of course, whenever I am stressed, depressed, or worried about something, a-hole sometimes pokes his head up in all of his fury. I have endeavored to tell my friends to call me on it whenever that persona rears its ugly head. Two of my fellow bloggers have seen this persona. Legal Lucy's first experience interacting with me was when I was in full on a-hole mode due to a stressful meeting of scholarship kids at law school. To her credit (and because she is an awesome person), she gave me another chance, and I was able to show her the kind of person I really am. I would like to think that, since then, Lucy has been spared exposure to the a-hole persona of the Artful Blogger (how about it, Lucy?). The person who has seen the a-hole the most is Missy, and this has nothing to do with her personally. Missy is my oldest (well, longest term, at least) Chicago friend. For the most part, I tend to be guarded around most people, but I can always be honest around Missy. I think that she was a bit confused early on by what she perceived as an almost schizophrenic personality on my part. Sometimes she would get the real Artful and sometimes she would not even recognize me. I realized that, as Missy was my close friend, I tended to go to her whenever I was stressed about something. After she called me on it, I told her to give me a verbal slap whenever I was in this mode. Of all of my friends, Missy is least deserving of this ugly persona of mine. Kudos to both Missy and Lucy for hanging in there and being my friends. I know it has not always been easy! As I said, however, I have endeavored to control this persona, but I have always wondered what kind of person I would have been without the timely intervention of my college roommate and the patience of my friends since then. Last night, I came face to face with "Dr. A-hole". There but for the grace of God go I...
As many of you may know, my brother is getting married in August. In celebration, one of his groomsmen arranged a dinner for all of the groom's party in Chicago. He made reservations at Spiaggia, a very nice (and expensive) Italian restaurant off of Michigan Avenue in Chicago. One of the other members of the party and I are not exactly in the best of financial situations right now. When compared to the rest of the party (4 doctors and the head of a large IT company), we were definitely on the low end of the income pool. However, we figured that we would have enough if we watched the amount of wine that was ordered and were careful about our own orders. Everyone met at the world famous Drake Hotel, as some of the party wanted to have cocktails before dinner. I met everyone there, and it was there that the organizer (the aforementioned Dr. A-hole) started in on me and everyone else in the party. I was taken aback. I mean, I am not above giving my buddies grief and accepting grief in turn from said buddies because we know each other pretty well. I had no such connection with Dr. A-hole. I mean, what made him think that he had the right to joke with me in such a demeaning manner? He had not earned the right, and I had given him no cause to be so vicious. During the course of the evening, in rapid fire succession, Dr. A-hole proceeded to attack 1) my education/degrees/longevity in school, 2) my appearance, 3) my age, and 4) my knowledge. Of course, as I mentioned, the other members of the party were not spared either. I was, at that time, still calm, however. I figured that he would probably calm down at dinner. After all, he could not be so shallow as to take attention away from my brother, the real guest of honor, right? Who would be so obtuse?
Dr. A-hole, that's who! He proceeded to attack my brother's ex-wife as being too "manly", make derogatory comments about my sexual orientation because I am not married or engaged, the business acumen of said IT CEO, and everyone else's taste in food or wine (save his own, of course). Dr. A-hole, upon being seated, proceeded to order wine for the table without checking with the other members of the party first to see if we were willing to entrust him with this task or to see if we were willing to pay for lots of wine. Dr. A-hole proceeded, unknown to us, to order a $300 bottle of wine. Of course, when the bill arrived, Dr. A-hole was silent as to his own responsibility. During dinner, I mostly ignored him. He was trying to instigate something between the two of us, and for the life of me I could not figure out why. Was he jealous of the fact that I was my brother's brother and not him? Was he jealous of me? Was he just that insecure? I ignored him, for he was being an ignoramus and that was the most logical course of action. Internally, however, I found myself amused by his assertions on the proper way to raise children (he and his wife have none). I amused myself by texting various other members of the table with my observations on Dr. A-hole. Was that rude of me? You bet it was, and I do regret my juvenile behavior. At the same time, the texting proved to be a valuable safety valve for me, as I was close to losing my temper at the table. This was my brother's night, however, and I was determined not to let Dr. A-hole ruin it. I mean it. I am not a violent person by nature, but Dr. A-hole will never know how close he came to receiving a bloody nose at a 5 star Chicago restaurant. Yup.
The strangest part of the evening was when he started in on my brother's ex wife. His comments on her made me the most irritated. She and I never really got along, but I understood her. She was a woman in the male dominated field of orthopedic surgery. She, unfairly, had to be better than her male counterparts in order to be considered equal. As I remember it, she was able to balance that drive for excellence with a liberal dose of feminine elegance. For a time, she was a good wife and partner for my brother. Dr. A-hole did not know her that well, yet he proceeded to attack her as being " too manly." The irony here is that Dr. A-hole's wife is extremely manly-to the point where we were all thinking, for a time, that she might have been a "beard" of sorts for Dr. A-hole. And now he was attacking my brother's ex? My brother is still friendly with his ex, and I could tell that Dr. A-hole's comments were irritating my brother, but to his credit, he said nothing.
After dinner, I cut the evening short. Because I am studying for the bar, I have precious little free time, and I had no intention of letting Dr. A-hole ruin what little free time I had. When I returned home, I reflected on Dr. A-hole and how much he reminded me of the person I used to be. I was such a little brat, and I will forever be grateful to my college roommate and, to a certain extent, my big bro for straightening me out. I saw a lot of the OLD Artful in Dr. A-hole, and I shudder to think of what I might have become without the support and understanding of my friends. So for all of you out there, I invite you to join in and call me out when you see me manifest tendencies of Dr. A-hole. I promise that I will not get mad. I see it as a part of my journey to be a better person. It is far better for me to deal with the brief embarrassment of being called out rather than being thought of as a person like the inimitable Dr. A-hole.
Wednesday, June 18, 2008
My Current Playlist-what does this say about me?
Hello all:
While sitting here studying for the bar, I have compiled various playlists to listen to while studying for each subject. Today's playlist is for Illinois and Federal Civil Procedure:
1. I Think I'm Paranoid; Garbage (I am in love with Shirley Manson)
2. Hysteria; Def Leppard (Classic British hair rock from the 80s; gotta have one monster ballad!
3. Knockin' on Heaven's Door; Bob Dylan (great version of a classic tune)
4. Something; the Beatles (one of their best songs)
5. Kickstart My Heart; Motley Crue (my favorite song by the Crue)
6. You Know My Name; Chris Cornell (a great tune that was the theme for the last Bond film)
7. More than a Feeling; Boston (Guitar Hero reintroduced me to this classic Boston tune)
8. Like a Stone; Audioslave (really smooth song of unrequited love)
9. Hey Jude; The Beatles (nothing really neeeds to be said, now does it?)
10. The Heart of the Matter; Don Henley (Up there with The Boys of Summer; where has he gone?
11. Boulevard of Broken Dreams; Green Day (great tune from a modern classic album)
12. Animal; Def Leppard (cheesy tune, but great riffs orchestrated by Mutt Lange)
13. Photograph; Def Leppard (their first #1; more great riffs)
14. A Day in the Life; The Beatles (I love the schizophrenic nature of this song)
15. She Sells Sanctuary; The Cult (a great tune from their "Love" album)
16. Rebel Yell; Billy Idol (great treadmill song or song to play when I am getting tired)
What do you think?
While sitting here studying for the bar, I have compiled various playlists to listen to while studying for each subject. Today's playlist is for Illinois and Federal Civil Procedure:
1. I Think I'm Paranoid; Garbage (I am in love with Shirley Manson)
2. Hysteria; Def Leppard (Classic British hair rock from the 80s; gotta have one monster ballad!
3. Knockin' on Heaven's Door; Bob Dylan (great version of a classic tune)
4. Something; the Beatles (one of their best songs)
5. Kickstart My Heart; Motley Crue (my favorite song by the Crue)
6. You Know My Name; Chris Cornell (a great tune that was the theme for the last Bond film)
7. More than a Feeling; Boston (Guitar Hero reintroduced me to this classic Boston tune)
8. Like a Stone; Audioslave (really smooth song of unrequited love)
9. Hey Jude; The Beatles (nothing really neeeds to be said, now does it?)
10. The Heart of the Matter; Don Henley (Up there with The Boys of Summer; where has he gone?
11. Boulevard of Broken Dreams; Green Day (great tune from a modern classic album)
12. Animal; Def Leppard (cheesy tune, but great riffs orchestrated by Mutt Lange)
13. Photograph; Def Leppard (their first #1; more great riffs)
14. A Day in the Life; The Beatles (I love the schizophrenic nature of this song)
15. She Sells Sanctuary; The Cult (a great tune from their "Love" album)
16. Rebel Yell; Billy Idol (great treadmill song or song to play when I am getting tired)
What do you think?
Tuesday, June 17, 2008
The Experience AKA the SATC Movie with Daisy
So today, I took a brief respite from the rigors of bar review to FINALLY take in the Sex and the City motion picture. The timing seemed perfect, as the throngs of teary eyed and sighing women (well, most of them...more on that later) had taken their turns in the days close to the release. An afternoon showing seemed like the perfect option, as that would leave the rest of the day free for studying. On Sunday, Daisy informed me that she had purchased tickets for us to see the film. Now, Daisy is my usual movie going buddy during the summers. Sometimes, Daisy's reactions are, in truth, much better than what might be happening on the screen. She has also been a bit miffed at my numerous movie going adventures this summer without her; to her credit, rather than sitting back and waiting for me to plan (I have not been very good at that lately), she took control, purchased the tickets and away we went. We were accompanied by PAG and Xander, so the male to female ratio was not as skewed as that of many of the other groups in the theater (OK, so the other groups were groups of women and teenagers, but still). The four of us reached the theater just as the films were starting, and Xander and I immediately started rolling our eyes at the target trailers that assailed out senses. "Sisterhood of the Traveling Pants 2"...umm, no, don't think so. "The Women"...amazing female cast, but noooo..don't think so. "Mamma Mia"...ok, now that has potential. I am still a sucker for well done musicals, so we will see. And the main event then began...
First of all, for those of you who may not be aware of my personal familiarity of SATC, you should read or re-read my earlier post on the subject here. Back again? Good. Writer/director and former showrunner Michael Patrick King did a wonderful job establishing the recent histories of the characters within the opening credits themselves. One of the major problems of cinematic adaptions of television works is the danger of the audience lacking the background knowledge of the history of what has gone on before. Some shows would just not lend themselves to the kind of catch up that King deftly provided in the opening (I cannot imagine David Chase successfully accomplishing this feat if he ever decides to bring "The Sopranos" to the screen). We were then launched straight into the story. Big and Carrie looking for a new place, Steve and Miranda having problems, Charlotte just being happy, and Samantha struggling with a selfless existence. The wedding sequence and all that followed really seemed true to the characters that King established. In the end, he wisely avoided the GIANT BIG SCREEN STORY and focused on the aspects of the characters that made them icons for women everywhere. The reactions to the characters to the various twists and turns of the story seemed honest, and King did a great job in insuring that the actresses (and Chris Noth's Big) never overplayed the emotional content. the whitty banter among the women (sans the frequent f-bombs that were the hallmark of the series) was there, and so was the same chemistry the women enjoyed for so many years on HBO. The lone leading female newcomer, Jennifer Hudson, served more as a reminder of what NYC must have been like for Carrie and the rest when they were in their 20s. Now, even with the focus on character,that is not to say that King avoided the frosting on the cake, namely the designers and the places and events that make New York the ultimate 5th member of the SATC crew.
So how was the movie experience with Daisy? Well, she gasped at the sheer number of designer labels that were front and center in the film. All of the air in the auditorium was taken up by her sudden inhale upon viewing Big's new closet for Carrie. Finally, later in the film, Daisy was wracked with tears during a seemingly endless series of emotional final beats to the film, with each beat upping the ante for the one that would follow. I don't know HOW she could not have been out of breath and exhausted after her experience. Then again, perhaps I reacted the same way during both of my viewings of "Iron Man" (yes, I did see it twice).
So, in the end, SATC was exactly what it was supposed to be. As much as Xander and I might have wanted to make fun of the phenomenon, we could not. King wrote an engaging story that captured the attention of and pleased devoted fans and newcomers alike. There really seemed to be nothing that was missing.
OK. The "Carrie" necklace. That was missing. Maybe next time.
First of all, for those of you who may not be aware of my personal familiarity of SATC, you should read or re-read my earlier post on the subject here. Back again? Good. Writer/director and former showrunner Michael Patrick King did a wonderful job establishing the recent histories of the characters within the opening credits themselves. One of the major problems of cinematic adaptions of television works is the danger of the audience lacking the background knowledge of the history of what has gone on before. Some shows would just not lend themselves to the kind of catch up that King deftly provided in the opening (I cannot imagine David Chase successfully accomplishing this feat if he ever decides to bring "The Sopranos" to the screen). We were then launched straight into the story. Big and Carrie looking for a new place, Steve and Miranda having problems, Charlotte just being happy, and Samantha struggling with a selfless existence. The wedding sequence and all that followed really seemed true to the characters that King established. In the end, he wisely avoided the GIANT BIG SCREEN STORY and focused on the aspects of the characters that made them icons for women everywhere. The reactions to the characters to the various twists and turns of the story seemed honest, and King did a great job in insuring that the actresses (and Chris Noth's Big) never overplayed the emotional content. the whitty banter among the women (sans the frequent f-bombs that were the hallmark of the series) was there, and so was the same chemistry the women enjoyed for so many years on HBO. The lone leading female newcomer, Jennifer Hudson, served more as a reminder of what NYC must have been like for Carrie and the rest when they were in their 20s. Now, even with the focus on character,that is not to say that King avoided the frosting on the cake, namely the designers and the places and events that make New York the ultimate 5th member of the SATC crew.
So how was the movie experience with Daisy? Well, she gasped at the sheer number of designer labels that were front and center in the film. All of the air in the auditorium was taken up by her sudden inhale upon viewing Big's new closet for Carrie. Finally, later in the film, Daisy was wracked with tears during a seemingly endless series of emotional final beats to the film, with each beat upping the ante for the one that would follow. I don't know HOW she could not have been out of breath and exhausted after her experience. Then again, perhaps I reacted the same way during both of my viewings of "Iron Man" (yes, I did see it twice).
So, in the end, SATC was exactly what it was supposed to be. As much as Xander and I might have wanted to make fun of the phenomenon, we could not. King wrote an engaging story that captured the attention of and pleased devoted fans and newcomers alike. There really seemed to be nothing that was missing.
OK. The "Carrie" necklace. That was missing. Maybe next time.
Friday, June 13, 2008
2 For 2: Marvel's INCREDIBLE HULK continues a stellar summer movie season
Has it really been almost 3 weeks since my last post? Wow..I apologize. Between bar review and the basic life of a student in Chicago, I have had very little time to indulge in my other love, the cinema. Many of the high profile summer releases have, thus far, passed me by, and my "work" seems to be piling up. No, I have yet to see "Caspian" (though in this, I have a lot of company), "Sex and the City" (really not my fault, for women want to see it with each and most straight men, me and Eddie excepted, simply do not want to willingly go to the film), "Kung Fu Panda" (I hear it is very good), and "Zohan" (I hear it is typical Sandler-not necessarily a bad thing). However, with the release of Marvel Films' second big release of the summer after "Iron Man", I was bound and determined to make the time to see it. As you all know, I thoroughly enjoyed "Iron Man", and based on my experience with THAT film, my expectations for "The Incredible Hulk" were heightened.
But before I proceed, I must take this opportunity to remark upon "Hulk", the horrible Ang Lee film from 5 years ago. "Hulk" starred Eric Bana, Jennifer Connelly, Sam Elliot and Nick Nolte. "Hulk" was more of a psychological drama with some action sequences thrown in for good measure, an analysis of the far reaching consequences of the most severe case of child abuse ever. Ang Lee shot a beautiful film, but it was NOT a "Hulk" film. Truth be told, Lee would have been better served remaking "The Hunchback of Notre Dame." I daresay that "Hulk" was his "Hunchback," but no one ever accused Victor Hugo of being the writer of comic books (interesting aside: Kenneth Johnson, the creator of the "Hulk" TV show of the late 80s, modeled the story on "Les Miserables", with Banner in the role of Jean Val Jean and Jack McGee in the role of Javert. Maybe there IS a Hugo connection after all). The comics fans and others who drove "Hulk" to an opening weekend gross of over $60 million rapidly deserted the film, and the total domestic gross topped out at just $123 million, not bad but nowhere in line with expectations for the film. Predictably, critics around the country began their usual death knell for comic films as they, per their usual habit, equated a badly made comic film with their false perception of an audience that was tiring of superhero spectacles. Only the comics fans understood what going on. While fans had to give Marvel and Lee props for trying to inject a certain arthouse gravitas to what had primarily been a popcorn genre, Lee's film only served as a reminder that, at their hearts, comics films have to be crowdpleasers filled with action sequences, albeit with special effects that are in service of the plot. Dismayed with the response to "Hulk", Marvel waited until the option for future Hulk films from Universal Films had lapsed and the rights had reverted back to Marvel.
Upon receiving the rights, they immediately commissioned Zak Penn to write a treatment. Boy did he deliver. Marvel then tapped Louis Leterrier, the director of "The Transporter" films. Well, that was all well and good for the action sequences, but did his experiences mean that he would be able to tell a story with the depth of feeling that "Hulk" required (more on this later). Would he disregard the rich history of the Hulk and take the film in an all action/no plot direction? Ah yee of little faith, Leterrier was one of the proteges of the great French filmmaker, Luc Besson (he of "the Professional" and, one of my favorite action/suspense films of all time, "Le Femme Nikita"). I had hope that he would do right by the character. So with the writer and director in place, Marvel set about with casting. Their final selections were perfect. Edward Norton made a much more believable Bruce Banner than did Bana. Bana did a perfectly passable impression of a scientist, but he was too much of a "pretty boy" to be believable as a nebbish scientist. Bana is a big guy, and some of the Hulk transformational impact was lost in translation. In addition to being a top notch, Academy Award nominated actor, Norton brought his skills as a script doctor to the project. Now, there were 4 eyes on the story (not necessarily a bad thing after the mess that was the Lee film). Liv Tyler, William Hurt, and Tim Roth all rounded out the cast, and this cast could not have been better.
So why should making a Hulk film be so difficult. With the right cast, screenplay, and director, it should be pretty easy, right? Well, in any normal situation, this may be the case, but when a studio is dealing with a character that has over 40 years of publication history behind it, the studio must take into account the verisimilitude that the screen story must have with regard to said comics history. A balance of too much on the side of the comic fan and the average movie goer will be shut out. A shift that is too far away from the comics and the result is Lee's "Hulk" film, a film of a type that pleases few. I am pleased to say that, like "Iron Man" before it, Marvel Films' adaptation of the Hulk character successfully walks that fine line.
The story breaks away from conventional comic book films by dispensing with the origin story within the opening credits. By the time the story itself begins, the viewer has an understanding of the origins of the Hulk and why Banner was running. The action picks up very quickly, and the film is punctuated by 3 very intense action sequences. Will action fans be pleased by this film? The answer is a resounding YES! This is the Hulk we have been waiting for, a monster who is a hero. In Blonsky, the Hulk also has a formidable opponent upon which to unleash all of his rage in all of its glory. Without a story, however, action can fall flat, and it is here where Zak Penn and Ed Norton really did their homework. As David Koepp realized with Spider-Man, the story of the Hulk is about a guy and a girl. The guy has a special problem and the girl loves him in spite of it and wants to help him. In truth, some of my favorite scenes in the film involve quiet moments between Bruce and Betty. The chemistry between the main actors was strong, and 2 scenes really stuck out for me. The first is when Betty believes she sees Bruce in the kitchen of the pizza place where she is dining. She runs off in pursuit, calling his name. We see her running into an alley calling out for him, and we see Bruce cowering behind a dumpster, pain on his face, as we see his desire to go to her and his resolve not to do so (for what he believes is her own good). This was a wonderful scene. The second scene was another quiet scene with Bruce and Betty in a hotel while they are on the run. Norton and Tyler's chemistry was such that nothing had to be said in many of their scenes; the audience understood the tortured past and present of their relationship and the value both found in quiet moments together.
As a comic fan, I loved the references to Marvel Comics' rich comics history and the groundwork that was being laid for sequels and spinoffs without calling too much attention to the fact. Some great examples of this:
1. The mention of the "super soldier serum" in the film by Emile Blonsky set the groundwork for the introduction of Captain America. Indeed, when General Ross enters the cold room where the super solder serum is stored in liquid nitrogen cryovials, the name of the scientist who stored the cryovials is clearly visible: Reinstein, the same scientist named by Joe Simon and Jack Kirby when they created Captain America during WWII. Was it necessary for Marvel to pay such homage to Marvel's history? No, but it was a nice touch.
2. Betty's love interest at the time Bruce enters her live is Doc Samson. In the comics, Samson tries to help Bruce deal with his Hulk side and even has his own minor exposure to radiation. In the film, he is sympathetic to Bruce's plight even as Bruce and Betty become fugitives from General Ross. Again, this was a very nice touch that hinted at stories to come.
3. The introduction of Samuel Sterns, the man who, in the comics, will become the gamma powered supervillain called the Leader. We get a glimpse of his origin and nothing more. Sometimes, less is truly more.
4. Emile Blonsky as The Abomination, a name that is mentioned only once in the film, but in a way that calls attention to Blonsky's fate.
5. The correspondence between Mr. Blue and Mr. Green hearkens back to Bruce Jones' wonderful run as a writer on the comic book "The Incredible Hulk." His run was marked by an almost X-Files conspiracy as Bruce was looking for a cure and traveling around the country with just his laptop computer with him. When you see the film, you will recognize the similarities.
6. The nod to the more modern "Ultimates" origin of the Hulk, where Bruce was working on the super soldier serum for Shield before becoming infected. One of the best moments in the comics was when Shield dropped Bruce from a helicopter in the middle of New York, ground zero for an alien invasion. What was the result? "Hulk Smash!!!!"
7. The numerous nods to the TV series, from the forlorn figure of Bruce hitchhiking in the rain to the haunting strains of the famous "walking away" piano music, a musical piece appropriately named "The Lonely Man", from the 1970s series and on to the cameos of the late Bill Bixby and the still very much alive Lou Ferrigno (a wonderful cameo there!). Even the images from the origin sequence in the opening credits of the TV series were played over in the opening credits of the film (the blinking "Danger" sign, the green bullseye on Banner's forehead while Banner is strapped into the mechanized chair, and the subsequent accident). Finally, the introduction of Jack McGee ("Mr. McGee, don't make me angry. You wouldn't like me when I'm angry") brought the TV series within the full universe of the Hulk. Once again, none of this struck one over the head; it was all rather subtle. I daresay that even those people who have no knowledge of the TV show will enjoy the bits that were seamlessly incorporated. How appropriate that, by the end of the film, Bruce is going by his TV alias, David Banner.
8. The purple pants from the comics. You have to see the subtle nod to this to believe it!
9. Robert Downey Jr. as Tony Stark. No, this is not an "Iron Man" review. Robert Downey Jr.'s Tony Stark shows up in "The Incredible Hulk" as well. YES!!!
In the end, even without all of the above mentioned Easter eggs, I cannot recommend "The Incredible Hulk" enough. It is a crowd pleasing action film that has, at its heart, a very real story of the fragility of the human condition. This summer, Marvel batted 2 for 2, and I am looking forward to their next project. I know that I will not be disappointed.
By the way, unlike "Iron Man", there is no need to wait until the end credits have run. There is nothing extra at the end.
But before I proceed, I must take this opportunity to remark upon "Hulk", the horrible Ang Lee film from 5 years ago. "Hulk" starred Eric Bana, Jennifer Connelly, Sam Elliot and Nick Nolte. "Hulk" was more of a psychological drama with some action sequences thrown in for good measure, an analysis of the far reaching consequences of the most severe case of child abuse ever. Ang Lee shot a beautiful film, but it was NOT a "Hulk" film. Truth be told, Lee would have been better served remaking "The Hunchback of Notre Dame." I daresay that "Hulk" was his "Hunchback," but no one ever accused Victor Hugo of being the writer of comic books (interesting aside: Kenneth Johnson, the creator of the "Hulk" TV show of the late 80s, modeled the story on "Les Miserables", with Banner in the role of Jean Val Jean and Jack McGee in the role of Javert. Maybe there IS a Hugo connection after all). The comics fans and others who drove "Hulk" to an opening weekend gross of over $60 million rapidly deserted the film, and the total domestic gross topped out at just $123 million, not bad but nowhere in line with expectations for the film. Predictably, critics around the country began their usual death knell for comic films as they, per their usual habit, equated a badly made comic film with their false perception of an audience that was tiring of superhero spectacles. Only the comics fans understood what going on. While fans had to give Marvel and Lee props for trying to inject a certain arthouse gravitas to what had primarily been a popcorn genre, Lee's film only served as a reminder that, at their hearts, comics films have to be crowdpleasers filled with action sequences, albeit with special effects that are in service of the plot. Dismayed with the response to "Hulk", Marvel waited until the option for future Hulk films from Universal Films had lapsed and the rights had reverted back to Marvel.
Upon receiving the rights, they immediately commissioned Zak Penn to write a treatment. Boy did he deliver. Marvel then tapped Louis Leterrier, the director of "The Transporter" films. Well, that was all well and good for the action sequences, but did his experiences mean that he would be able to tell a story with the depth of feeling that "Hulk" required (more on this later). Would he disregard the rich history of the Hulk and take the film in an all action/no plot direction? Ah yee of little faith, Leterrier was one of the proteges of the great French filmmaker, Luc Besson (he of "the Professional" and, one of my favorite action/suspense films of all time, "Le Femme Nikita"). I had hope that he would do right by the character. So with the writer and director in place, Marvel set about with casting. Their final selections were perfect. Edward Norton made a much more believable Bruce Banner than did Bana. Bana did a perfectly passable impression of a scientist, but he was too much of a "pretty boy" to be believable as a nebbish scientist. Bana is a big guy, and some of the Hulk transformational impact was lost in translation. In addition to being a top notch, Academy Award nominated actor, Norton brought his skills as a script doctor to the project. Now, there were 4 eyes on the story (not necessarily a bad thing after the mess that was the Lee film). Liv Tyler, William Hurt, and Tim Roth all rounded out the cast, and this cast could not have been better.
So why should making a Hulk film be so difficult. With the right cast, screenplay, and director, it should be pretty easy, right? Well, in any normal situation, this may be the case, but when a studio is dealing with a character that has over 40 years of publication history behind it, the studio must take into account the verisimilitude that the screen story must have with regard to said comics history. A balance of too much on the side of the comic fan and the average movie goer will be shut out. A shift that is too far away from the comics and the result is Lee's "Hulk" film, a film of a type that pleases few. I am pleased to say that, like "Iron Man" before it, Marvel Films' adaptation of the Hulk character successfully walks that fine line.
The story breaks away from conventional comic book films by dispensing with the origin story within the opening credits. By the time the story itself begins, the viewer has an understanding of the origins of the Hulk and why Banner was running. The action picks up very quickly, and the film is punctuated by 3 very intense action sequences. Will action fans be pleased by this film? The answer is a resounding YES! This is the Hulk we have been waiting for, a monster who is a hero. In Blonsky, the Hulk also has a formidable opponent upon which to unleash all of his rage in all of its glory. Without a story, however, action can fall flat, and it is here where Zak Penn and Ed Norton really did their homework. As David Koepp realized with Spider-Man, the story of the Hulk is about a guy and a girl. The guy has a special problem and the girl loves him in spite of it and wants to help him. In truth, some of my favorite scenes in the film involve quiet moments between Bruce and Betty. The chemistry between the main actors was strong, and 2 scenes really stuck out for me. The first is when Betty believes she sees Bruce in the kitchen of the pizza place where she is dining. She runs off in pursuit, calling his name. We see her running into an alley calling out for him, and we see Bruce cowering behind a dumpster, pain on his face, as we see his desire to go to her and his resolve not to do so (for what he believes is her own good). This was a wonderful scene. The second scene was another quiet scene with Bruce and Betty in a hotel while they are on the run. Norton and Tyler's chemistry was such that nothing had to be said in many of their scenes; the audience understood the tortured past and present of their relationship and the value both found in quiet moments together.
As a comic fan, I loved the references to Marvel Comics' rich comics history and the groundwork that was being laid for sequels and spinoffs without calling too much attention to the fact. Some great examples of this:
1. The mention of the "super soldier serum" in the film by Emile Blonsky set the groundwork for the introduction of Captain America. Indeed, when General Ross enters the cold room where the super solder serum is stored in liquid nitrogen cryovials, the name of the scientist who stored the cryovials is clearly visible: Reinstein, the same scientist named by Joe Simon and Jack Kirby when they created Captain America during WWII. Was it necessary for Marvel to pay such homage to Marvel's history? No, but it was a nice touch.
2. Betty's love interest at the time Bruce enters her live is Doc Samson. In the comics, Samson tries to help Bruce deal with his Hulk side and even has his own minor exposure to radiation. In the film, he is sympathetic to Bruce's plight even as Bruce and Betty become fugitives from General Ross. Again, this was a very nice touch that hinted at stories to come.
3. The introduction of Samuel Sterns, the man who, in the comics, will become the gamma powered supervillain called the Leader. We get a glimpse of his origin and nothing more. Sometimes, less is truly more.
4. Emile Blonsky as The Abomination, a name that is mentioned only once in the film, but in a way that calls attention to Blonsky's fate.
5. The correspondence between Mr. Blue and Mr. Green hearkens back to Bruce Jones' wonderful run as a writer on the comic book "The Incredible Hulk." His run was marked by an almost X-Files conspiracy as Bruce was looking for a cure and traveling around the country with just his laptop computer with him. When you see the film, you will recognize the similarities.
6. The nod to the more modern "Ultimates" origin of the Hulk, where Bruce was working on the super soldier serum for Shield before becoming infected. One of the best moments in the comics was when Shield dropped Bruce from a helicopter in the middle of New York, ground zero for an alien invasion. What was the result? "Hulk Smash!!!!"
7. The numerous nods to the TV series, from the forlorn figure of Bruce hitchhiking in the rain to the haunting strains of the famous "walking away" piano music, a musical piece appropriately named "The Lonely Man", from the 1970s series and on to the cameos of the late Bill Bixby and the still very much alive Lou Ferrigno (a wonderful cameo there!). Even the images from the origin sequence in the opening credits of the TV series were played over in the opening credits of the film (the blinking "Danger" sign, the green bullseye on Banner's forehead while Banner is strapped into the mechanized chair, and the subsequent accident). Finally, the introduction of Jack McGee ("Mr. McGee, don't make me angry. You wouldn't like me when I'm angry") brought the TV series within the full universe of the Hulk. Once again, none of this struck one over the head; it was all rather subtle. I daresay that even those people who have no knowledge of the TV show will enjoy the bits that were seamlessly incorporated. How appropriate that, by the end of the film, Bruce is going by his TV alias, David Banner.
8. The purple pants from the comics. You have to see the subtle nod to this to believe it!
9. Robert Downey Jr. as Tony Stark. No, this is not an "Iron Man" review. Robert Downey Jr.'s Tony Stark shows up in "The Incredible Hulk" as well. YES!!!
In the end, even without all of the above mentioned Easter eggs, I cannot recommend "The Incredible Hulk" enough. It is a crowd pleasing action film that has, at its heart, a very real story of the fragility of the human condition. This summer, Marvel batted 2 for 2, and I am looking forward to their next project. I know that I will not be disappointed.
By the way, unlike "Iron Man", there is no need to wait until the end credits have run. There is nothing extra at the end.
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