Finding Strength

An Occasional Blogger's Journey
After A Rough Few Years,
Toward Feeling Like a Person Again.

Part One: The Old Days

Do you know who you are? Do you really know who you are?

It's human nature for someone to think they have all the answers, to think they know everything there is to know - or need to know - about themselves, their lives, their potential, their worlds. In this life, as we grow from infancy through childhood and young adulthood, we are bombarded with the great Societal Messages. Virtue is its own reward. College is the key to prosperity and success. A penny saved is a penny earned. Good is stronger than evil. Over the last few years, the gradual disintegration of our collective perception of safety and soundness - after the events of 9/11 and the War on Terror, the economic recession, Ponzi investment fraud and many other such events - has made it become more clear to the people of our world that there are, in fact, no promises in life. No guarantees. No answers.

The last ten years have been a fairly dark time for us all. The 1980's were an interesting time to grow into adulthood, around here. We were all fed the lines that "this is America and we deserve the best!" We grew up with a perceived sense of entitlement, as if we were (or are) due nothing but good fortune, if we work hard and live right. A few years later, we leased cars and bought McMansions and flat-screen televisions because we felt we deserved them. We cheated on our lovers or got divorces because this is the land of opportunity, damn it, and if our loved ones don't agree with us on some slight non-issue when placed against the grand scheme of things then we'll find someone who will.

None of this is meant to be any sort of essay about politics, not about assigning blame nor pointing fingers. Terrible things happen all the time, but how often do they happen to you? Loss, unemployment, financial difficulty... these are facts of life. We read every day of tragedy, sickness and fear in the lives of others and we say "how terrible." What are the effects of such tragedies? How have the last few years affected you? What have been the tolls upon our souls? And how have we changed?

Some time ago, my own particular collegiate and post-collegiate employment world consisted of nothing but labor gigs in warehouses and factories. This lasted for a year or two, all after spending nearly six years in college -- an institution I was told would guarantee me a better life, and being considered a fairly decent writer, filmmaker, creative-artist, even being told by one professor that he thought I was destined to make "lasting contributions in the industry." Powerful was my sense of entitlement. And the only job I could get in my podunk town, where I had no car and no money and no family contacts to make any sort of career or life for myself, was in Manual Labor. Sweeping loading zones, running conveyor belts on assembly lines, washing buckets in warm water and bleach, illegally driving fork lifts at the direction of my bosses, being surrounded by the "lifers," people who had been stuck in this same situation for years, sometimes decades, often drunk on the job, stealing from the employers, joking about their "stupid" spouses...

One morning after working my typical overnight 7pm-to-7am shift, I arrived home, sat in a chair, looked out the window and had a very strong nervous breakdown. Shaking, laughing and crying, unable to think about anything but what seemed to be a very dark future, I collapsed into hysteria.

This had been coming for quite some time. When one is depressed -- in this case due to the unfairness of my life direction given my hard work in college and perceived so-called talent as an artist, which is fairly self-aggrandizing in a certain respect -- one's relation to his or her world can snap in a heartbeat.

People often talk and often hear about that great monster, Clinical Depression. Every day can feel like a stay in hell. Simply waking up and getting out of bed in the morning can be a torture. Many get diagnosed, receive pills and move through their lives in a medicated haze. While I've never been diagnosed with such an affliction, nor taken extended meds, I do believe I have a sense of what said people often go through. Case in point: on my way to working that overnight shift, I'd pass by a lake and over a set of railroad tracks both to and from work every day. And there were a few times when I'd thought to myself during a sub-freezing winter's moment, "I wonder how far out on that lake I could walk before the ice breaks under my feet." Or while crossing the tracks, perhaps hearing the whistle of an approaching commuter rail train, "it would be so easy to just stay on these tracks and not move."

These are the thoughts of someone who's had enough. And, in a retrospective way, they feel very... I don't want to use the term "over-dramatic" so I'll say... "childish," which isn't to say that they're not serious or terrible, but perhaps lacking in knowledge or being of a world view, at that time. When you're a kid with very limited life-experience, all you know is your own life. Your own pain. Something as seemingly minute as being unhappy in your job can seem like the end of all things. "Why go on, if this is to be my life?" I would think to myself. And I'd joke about such thoughts with certain close friends that I thought (and hoped) could handle the gallows humor of it. When you're in dispair, sometimes it helps, however briefly, to have the right people around you to help laugh it off. Not that I would have ever done anything like end it all... I might have wondered about it, but never could do it. Why? A few reasons, really.

One: The whole Catholic concept of suicide leading to an immortal soul's eternal damnation. It might sound trite but even though I've never been the regularly church-going type and I'm not sure I'd consider myself overly religious, I've always - to put it simply - appreciated the Big Man and the Big Rules. And I've always felt that some pain in-the-now was nothing compared to the possible never ending darkness of the purgatorial void.

Two: My Mom and My Friends. She, my Mother, would truly be devastated if I'd ever gone and done anything so horrible. Never mind whatever pain I might've thought I was feeling. This is a woman who's had what I think many would agree to be -- if they knew all the facts -- a very hard life, one with doubt and fear and pain and some loneliness and the occasional ray of hope and sunshine. When things were bad, and they often were, it was us against the world. I know what I mean to her... And then my Friends... There was a time when I didn't have many friends. All through high school I considered maybe three people close enough to call friends -- and one of them was an adult, a teacher who saw something of value in my artwork. In those situations where your peers just don't seem to care - if you're a heavy kid, picked on, living in State-assisted housing and a form of Federal Assistance - loneliness is the greatest potential killer that I can think of. I knew about this as a child and high-schooler here and there, but this moment of Labor Work wasn't one of those times. This moment instead, the point of my college and post-college years between 1988 and 1994, brought me many of the friends I would consider my lifetime ones. Friends I still love and cherish to this day who I hope know this as fact... Friends that might just be reading these words right now... Friends I can't do without.

Three: Blind hope. If someone removes themselves from life, they could miss something better down the line. It could be anything... Love. Art. Career. Riches. Family. Sunlight. Music. Good books and films. People. Animals... How could one know things could get better if they weren't there to see it?

Some truly unfortunate people spend their lives in famine, disease, sorrow... What right did I have to consider such an end if I simply didn't like my current situation? And yet, some do just that. My cousin did. And my step brother. Boys I played with as a child, boys I saw movies with, exchanged birthday presents with, joked about girls with. My cousin was the athlete, the talented musician, had the girlfriend, the bright future... He seemed to have it all in ways I never had and in some ways still haven't. My step brother went the other way, I'd heard; alcohol and drug addiction. Another two people in my life got into their respective cars and drove themselves into trees. One drank himself to death and died alone over a Christmas holiday. What brought them to their last breaths? What sadness made them give up?

An hour or so later after my aforementioned breakdown, I finally calmed down enough to take some medication (given to me me by someone with several other issues that required such medication) and fell asleep. The sadness of what I perceived to be a wasted life in front of me hit me hard. Not long later, I got my first adult employment opportunity , a video/audio editing job at a nationwide press clips agency, lost a little physical and emotional weight -- no small feat for someone who grew up poor, heavy and never got a date until his twenties -- and moved into adulthood and into the city of Boston with college friends. So yes, things got better for the next, oh seven years or so... (More on that, later.)

This is all backstory, though. None of this is any sort of cry for help, any sort of "poor me" attempt at attention-grabbing. I only bring it up to place a few things in context.

Sadness, fear and sorrow all take a huge toll on the human spirit. You see, much of this was all between 1993 and 1995. Years before the World Trade Center, the Taliban, Bernie Madoff, George Bush, the Failing Dollar, Ten Percent Unemployment... All the above, all that seemed so sad and harsh and important, was "only a test," compared to what would eventually come to town in all our lives. You really never know who you are -- or what you're capable of -- until the time comes. When you're feeling strong, the phrase "when the going gets tough, the tough get going" might come to mind. And maybe, for a time, you feel like you can handle anything life can throw at you. "That other stuff, that was kid stuff. I'm an adult now," you might think in such moments. "I can take anything."

We were all about to find out just what we could take. Just who we were. And just what we were made of.

To be continued...

Finding Strength

An Occasional Blogger's Journey
After A Rough Few Years,
Toward Feeling Like a Person Again.


Coming Soon.

Midnight Passage

Sitting in the window
under the cover of night
he fantasizes about love.

He knows not her face
nor the color of her eyes, her hair...
but he imagines she's there.
He knows she's there somewhere.

She comes to him at the window
and whispers "move over"
as she takes a seat next to him
and leans her body back into his.

Her hair spills across his chest
and he can feel her breathing
as the cool, night air passes over them.
He feels as if he's going to fall
asleep right then and there,
and he wonders why
he always feels this way with her.

He realizes why, after a moment.
He's been searching for this, for her,
for this feeling of being needed,
of contentment, for so many years,
of course he needs a rest, by now.

"But fear not," he whispers
into her perfectly shaped ear.
"I won't sleep forever
and once I wake up again,
I'll make you happier than you've ever been."

She smiles as their eyes slowly close
in mutual contentment... He knows
once he opens his eyes again she'll be gone,
into the night,
taking this wondrous feeling
of being needed by someone
with her.

He tries not to think about it
and silently looks forward
to their next midnight rendezvous,
sitting in the window
under the cover of night.

The Fine Line Between Clever and Stupid

Looking through the past via my e-mail inbox, I'm struck with the amount of notes and passages I've never gotten around to deleting. Many are rather personal. Many are quite random. The one I'm going to present to you here, though, has something interesting in there, I think. (Maybe.) It's all in good jest, naturally, as if written by a drunken cross between Andy Kaufman and Hunter S. Thompson. But if it were real... Oh, man. What a world this could be...

A few of my friends take part in public readings of their personal childhood diaries and journals, sharing in the nostalgia of young adulthood and poking light fun at all of the things that seemed so important back then when they really weren't. Posting the following scribble might be as close to doing that as I'm likely to get. So, that said... have a seat, put your feet up, and enjoy my rambling insanity. Please excuse the ridiculous amount of all-caps text, and try to remember... Some ideas are just ahead of their time.

Sent: Thu 10/13/05 - 5:01 PM

I had an idea today for what might just be the most experimental film of all time. "Experimental" in that it follows absolutely none of the rules of natural film making or storytelling. In fact, there will BE no story. Not in a SEINFELD way. In a NO STORY OF ANY KIND way. There will be NO actors. Perhaps, right now, you're saying to yourself "No actors?" No. None. There will be PEOPLE, maybe. Or parts of people. But no actors playing characters. And no dialogue. Words, spoken. But not written.

There will also be NO DIRECTOR. The footage will have an editor (necessary, I think, considering how random the footage will be). But there will be NO rhyme or reason in the cutting, nor artistic intent. There will be no mise-en-scene, no subtext of the linking of images, and no points will be deducted for mistakes. Because if there is no plan, there can be no mistakes.

There WILL be music. But it will be random, and performed without musical instruments by non-musicians. And it will be rendered unintelligible. For instance: the "opening theme," if there is to be one, will be interrupted a great deal by other sounds from later in the film.

Imagine a film with a Hate Index that's off the charts. Rottentomatoes.com should destroy itself trying to measure how hated the film will be. The confusion and negativity surrounding it should rival the that of Vincent Gallo's THE BROWN BUNNY. Cripsin Glover's WHAT IS IT?, all the UWE BOLL movies, FAT GUY GOES NUTZOID and BIRTH OF A NATION... COMBINED.

Despite the theoretical impossibility, imagine watching a nine hour version of Jamie Lee Curtis's VIRUS, but somehow watching it ten times in a row... and ALL AT ONCE. Audiences should not only demand their money back but should demand SEVEN TIMES their money back and be crying and/or yelling and/or shaking their fists while they do so. The idea, I think, is to make THE MOST UNIVERSALLY DESPISED MOTION PICTURE OF ALL TIME

There's a certain timelessness in that. Ed Wood's been dead for years and it's about time someone knocked his lame ghost's ass off that slimy post it's been perched on. Besides, PLAN 9 FROM OUTER SPACE maybe be awful, but it's gloried and almost beloved by millions (or thousands, anyway). And if SOMEONE likes it, then to me it fails as a TRULY bad film. It must be HATED. It must be spoken of ONLY IN WHISPER. It must be the VOLDEMORT of the film industry, to borrow from Rowling -- but even MORE evil. If Voldemort is "The One Who Cannot Be Named," then that is a name of a kind, itself.

Our film, our Bastard Film (and no, that's not it's name) will have NO TITLE and NO TITLE will never be referred to. If, somehow, society deems to name it someday (like they did with Prince when he changed his handle to that SYMBOL THINGY), then that title will be refuted. Even something as simple as THE UNTITLED MOVIE or THAT MOVIE WITH NO NAME will be tarred and feathered and fed to Satan's Dogs before they ever appear on any kind of posters for the film.

Which brings me to advertising. There WILL be a campaign. Posters and a website will promote this thing, whatever it is, to the masses. I was thinking something very simple for the one sheet, like black text on black letters, or white on white, or... NO! I HAVE IT! TRANSPARENT ONE SHEETS! Nothing more than THICK CELLOPHANE! PERFECT! For text: the posters should read something like DO NOT SEE THIS MOVIE and that's all. Though how one reads transparent text on a transparent poster is up for discussion. I'm leaving the content and design of the website up to XXXXX. Nobody is more suited for this task than you, XXXXX -- after all, it doesn't matter how crazy the site is. It will never be crazy ENOUGH.

Perhaps the idea behind all this would be of interest to some people out there in the world. TOUGH SHIT, WORLD! Only five people will EVER know. They are: names removed by request. And that is all. We'll have to assume new identities or at least use fake names making this thing in order to shield our loved ones from the backlash... although these loved ones will probably excommunicate us during production, anyway. No matter, pop stars and supermodels will likely offer us pleasures on an hourly basis for the sole purpose of sexing the secret out of us and releasing it the world on MTV's TRL Live or something. Hotties love bad boys. And nobody will be badder than us once the film is released. Not Manson. Not nobody.

I've concocted a cover story for the press, as follows...

"Two hundred and seventeen years from now, Earth will be visited by marauding Aliens from a distant star system, Hellbent on destroying Mankind. They will arrive in the night under silence, The word "genocide" is not strong enough for what they have in their Alien minds. They will invade, contact and destroy. And that the last possible second, one Under-Alien will discover... OUR FILM. It will advise its betters of the film. And Earth will be spared. Why? Will they love it? Will they fear it? That is uncertain. The above is all the information we have."

...As far as society goes, that's all they'll GET, too.

WE will know DIFFERENT. Here's the skinny: Maybe ALL OF THE ABOVE is a ruse. Maybe our intent SHOULD BE simply to spread the RUMOR that we're out to make THE MOST UNIVERSALLY DESPISED MOTION PICTURE OF ALL TIME. Start the website up, quietly let it worm it's way through the internet, wait for people to hear more, hit us up with questions and all, let some sort of Media Circus Swarm create itself over the film. This smacks of INTENT, though, and while I love the idea of it, I'm not sure. I'm torn between creating this GIGANTIC HOAX of a film and shooting a documentary about it (the easy, real-life application of the above theories) and doing it for REAL. Maybe we can do both. Will the Film Industry, the World and Valhalla forgive us for our trespasses? Who knows?

There is one more secret I have on the project. I want the final shot of the movie to be an image of film critic Richard Roeper, sitting in a cinema moments after watching the preceding film. I want him to utter one simple line. "Fuck!" for example. (Swearing is encouraged). And then I want him to pull out a revolver and blow his brains out. END OF FILM.

Yeah, I know... that bit above smacks of planning and "creating." It wouldn't be real, though -- I envision it to be pulled off via optical effects like that fire extinguisher scene in IRREVERSIBLE. No... It's not the central idea of the movie to get Roeper to commit suicide on film as some sort of wish fulfillment, nor a comment on the concept of film criticism in any way. It would just be a great final shot, is all. Right? Um.... thoughts? :)

Producers are encouraged to contact me here, with offers. My people are standing by. :)

Theatrical Reviews:

Ghostbusters (1984) ****
District 9 ***

DVD/Home Video
The Royal Tenenbaums: Criterion Collection ****
Rushmore: Criterion Collection ****
Bottle Rocket: Criterion Collection ***
Bonfire of the Vanities (1990) ***
Howl's Moving Castle (2004) ***
The Darjeeling Limited ***
Alien Vs. Predator: Unrated Edition (2004) *1/2

Facing The Music: A Film Score Geek Session

Soundtrack: 1) The physical area of a film that contains the synchronized recorded sound. 2) Recorded music accompanying and synchronized to the images of a motion picture, television program or video game. 3) A commercially released album of music as featured in the soundtrack of a film or TV show. -- from Wikipedia (paraphrased)

Yes, as a great fan of all-things-cinema, my admiration also crosses into my personal appreciation of music. Way back when I was about seven years old or so, I stumbled across one of those classic "12 albums, cassettes or 8-track tapes for a penny" ads Columbia Records & Tapes Club ran in TV Guide every week and my young eyes trained on the two most important words a kid growing up in the late 70's ever came across: STAR WARS.

Not that I knew anything about music when I was seven... but as far as I was concerned, I knew the hell out of everything about Star Wars. I also didn't understand the concept of joining a music club through the mail, but from what I'd gathered... for a penny I would own Star Wars... somehow. And that was all that mattered. I sent in the order form and six-to-eight weeks later my pile of tapes arrived and I popped the one I'd wanted most into my trusty Panasonic one-speakered, mono recorder and got my first taste of John Williams' greatness...

"What is this, old-people music?" I remember thinking. :)

And of course, years later, this "old-people music" makes up about 80% of my listening. John Williams (still a hero of mine), Elmer Bernstein, James Horner, Alan Silvestri, Jerry Goldsmith, Ennio Morricone, and later the synth stylings of Harold Faltermeyer, Jan Hammer and Hans Zimmer... Over time I grew to appreciate more and more, becoming quite the aficionado of the contemporary motion picture score. And of course, soundtracks and scores are the rhythms that the characters of a movie live and breathe to...

But what about people? If people had soundtracks, what might they sound like? Often, you're walking down the street, maybe a song will float into your head and you'll bounce to the beat. You're the only one that can hear it. But it's there, and you're loving it. If you were a character in a movie, what would that track be? A soul classic? A bit of bebop? A country twang? Or a fully orchestrated symphony? Most soundtrack fans have pieces they feel they identify with personally. Maybe the character the music underscores resonates with you. Maybe they remind you... of you. Whatever the reason, it's possible that some film scores or songs stick to you more than others. Maybe you consider them your soundtracks, too. I realized I have a few...


"The Man In Me"
Bob Dylan
from The Big Lebowski

Lebowski came along for me at just the right time. In my old uptight world of office politics and career non-advancement, this classic track ushered in the epic story of an unemployed bowling leaguer who knew how to relax. The film taught me to just relax; to be the Dude and abide... and this song sets the stage for peaceful easy vibes, every time.



"Main Title" and "Sneakers Theme"
James Horner with Branford Marsalis
from Sneakers

Maybe it's the mix of Horner's chorus/piano combo and Marsalis' jazzy solos. Maybe it's because I first saw this very-influential-to-me film having just arrived at KSC for film school -- the movie's concept of a group of surveillance experts working together always reminded me of my friends and I shooting each other's projects. The lightness and playfulness of these two tracks always enlighten the mood... and they go well with a cool fall day (college season) or snowy winter's night (holidays). Very impressionable, I seem to be.


"A Different Drum"
Peter Gabriel
from The Last Temptation of Christ

"Opening Titles"
Jeffrey Taylor & Ned Rifle (Hal Hartley)
from Amateur

"An Ending (Ascent)"
Brian Eno
from For All Mankind

There's a soulfulness and spirit to these songs that I always respond to. "Drum" is rather like arriving somewhere new and a feeling great promise, like crossing a bridge into New York City and feeling the first wave of anticipation. "Ending" and the track from Amateur, conversely, feel like the end of a long, perfect day, with the sun setting ahead of you, heading home to relax, smiling and falling asleep while someone else is doing the driving... or maybe the musical representation of a soul at complete happiness or peace. Sometimes, you just need to hear something like that.


"End Theme"
Eric Clapton
from Homeboy

This country-blues influenced track has a quiet, dependable beat coupled with the greatness of EC's guitar work. Coming from a little-known Mickey Rourke film about a small time boxer in a corrupt sports organization, it's one of those songs that resonates homespun decency and quiet dignity. (Also along these lines, but more orchestral: Randy Newman's The Natural and John Barry's Dances With Wolves.)


"Main Title/Love Theme"
Jerry Goldsmith
from Chinatown

"Blade Runner Blues"
Vangelis
from Blade Runner

Sometimes you need a little of the old slow-and-low. Some warm trumpet over a sad bit of strings for after a hard day at work or a lonely night where you feel isolated in your environs. Or a synthesized clarinet and organ combo sounding off into the night sky. Both tracks are perfect for a hot summer night walking or biking through town, or a rainy night in the big city. Perfect for when you could really use a soothing caress or a whipsered word of kindness, but there's nobody there to deliver them... (Also, but occasionally more up-tempo, Goldsmith's music for The Detective and Dave Grusin's score tracks from The Fabulous Baker Boys.)


"Prelude and Main Title March"
John Williams
from Superman

This one's easy. It's all about hope and desire. The soft beginning of the track, all flutes and strings, recall a youth spent on the farm (Smallville, perhaps) and looking out at the stars dreaming of something more... and then the tuba and cellos come in... and you're there, growing up... evolving, making your way out on your own... and then the trumpets blare, the violins sound, and you're where you want to be and who you want to be... And your future is assured... and you, like Kal-El himself, feel like you can do anything. Pure empowerment, personified.

There are just a few personal examples. How about you? What's on your soundtrack?

Theatrical
Watchmen: The Director's Cut ***1/2
Harry Potter and the Half-Blood Prince ***
Public Enemies ***
G.I. Joe: The Rise of Cobra **

DVD/Home Video
Annie Hall (1977) ****
The Double Life of Veronique: Criterion Collection (1991) ****
Chungking Express: Criterion Collection (1994) ****
For All Mankind: Criterion Collection (1989) ****
In the Realm of the Senses: Criterion Collection (1976) ***1/2
Man Stroke Woman: Season Two (BBC-TV) ***1/2
Manhattan Murder Mystery (1993) ***1/2
The Curse of the Jade Scorpion (1991) ***
White Dog: Criterion Collection (1982) ***
The Shinjuku Incident (Hong Kong) ***
Hyperdrive: Season Two (BBC-TV) ***
Lynch (one): (Documentary, 2007) ***
The Hit: Criterion Collection (1984) ***
Bullets Over Broadway (1994) ***
Roving Mars (IMAX, 2006) ***
Mighty Aphrodite (1985) ***
Family Business (1989) ***
Radio Days (1987) ***
Celebrity (1988) ***
Everyone Says I Love You **1/2
Small Time Crooks (2000) **1/2
Shadows and Fog (1991) **1/2
Hollywood Ending (2002) **1/2
Anything Else (2003) **
Predator 2 (1990) **
Push (2009) *

Rifftrax
Tommy Wiseau's The Room ***

Music
Tom Waits: Nighthawks at the Diner (1975) ****
Makoto Ozone: Wizard of Ozone (2000) ***

Art... and Commerce

Anybody who knows me knows my love for movie poster art. Let me rephrase that. Anyone who knows me knows not only my love for movie poster art, but knows and probably agrees that the old one-sheet, she ain't what she used to be.

Growing up a short walk away from the one-screen theater in my small Massachusetts town, seeing a Saturday matinee was often the highlight of the week for my grade school friends and I. We'd line up for almost anything that was playing in our 1970's and 80's early youths. Herbie Goes Bananas, Tootsie, T.A.P.S., Lady and the Tramp, Twilight Zone: The Movie... It just didn't matter what was on the screen that week. If was was "rated PG" or below, we'd be there. And waiting in line, often one wrapping around the front of the building way back when that happened on a regular basis, we'd study the "now playing" and "coming soon" movie posters hanging on the walls of that theater, inside and out.

I still recall being amazed by the Close Encounters one, and scared by the one for The Shining, and wowed by the now-classic Star Wars ones. But we always looked on these posters as simple advertising. It hadn't hit our young minds that these prints with cool looking imagery along the top two-thirds and all these strange names at the bottom could actually be hung on your wall at home and admired as art. Not until VCRs took over and every Video Hut in the area would hang up posters on their front windows, later taking them down and tossing them in trash tins with hastily-labeled "$5.00 each" signs taped to the front.

That was where it started for me. The Terminator was my first one. Many, many more followed. I started working at a movie theater when I was 17 and began to grab as many as I could get my hands on... and would sometimes make the journey from my small town world to the Big City (Boston) to the old Pix Posters shop in Cambridge where I picked up what was then the pride of my movie poster collection, the original one-sheet for Back to the Future, by the great Drew Struzan... the last real artist in the movie poster business.

Posters nowadays, though... They've not continued in the footsteps of their forerunners, sadly. Streamline-centric advertising agencies operating during the home video boom started to change things. Suddenly, advertising art wasn't all that important, they seemed to feel, and thus began the now-common practice of utilizing nothing more than simple photos of a film's star players (often half-obscured by darkness to give the viewer a sort of a feeling of menace) to take up most of the art-space.

Take, for example, the 2002 teaser poster for Reese Witherspoon's pseudo-comedy, Sweet Home Alabama. It's her face. That's it. Just a big, huge close-up. What is this image telling us about the film? Nothing. Is she a single girl in a turtle neck, making her way in the world today? A sassy housewife and mother? A maniac Stepford Wife preparing to wipe out every non-comformist in the deep south? Who knows? Who cares? Never saw it, never will. My college pals and I looked upon this abomination at a local mall and realized that as far as some are concerned, art is no longer necessary in film advertising. Dumb It Down was taking over. And by that rationale... why even bother with clever or catchy titles? With a poster like that, why not just call the film something like Reese Witherspoon #7 and save the ad people all kinds of cocaine time and money?

But all's not lost just yet. Greats like Drew Struzan are still around (although it was reported that he's given up illustration to concentrate on his also-great painted works). And filmmakers are getting more hip to the cause. Steven Spielberg even went on-record to say that if Struzan didn't create the poster for Indiana Jones and the Kingdom of the Crystal Skull, he wouldn't make the film. A mixed blessing as it turned out; the poster was arguably more well-realized than the film. But whatever keeps Struzan's paintbrushes in action is good enough for me.

And as recent posters have proven now and again, even simple photography can work with elegance and style. Here are a few recent ones that caught my eye. What movie posters have you seen lately that caught yours?


Duncan Jones's Moon



















Quentin Tarantino and Robert Rodriguez's Grindhouse



















Zack Snyder's Watchmen (Comedian Teaser Version)



















Charlie Kaufman's Synecdoche, New York



















Armando Iannucci's In the Loop



















And now, a buncha quick reviews. It's been a busy couple of months... :)

Theatrical
Pulp Fiction (1994) ***1/2
Whatever Works ***1/2
Moon ***1/2
Terminator: Salvation ***
Observe and Report ***
Wolverine ***
Transformers: Revenge of the Fallen **1/2
The Limits of Control **1/2



DVD/Home Video
The Friends of Eddie Coyle: Criterion Collection ****
The Witches of Eastwick (1987) ****
Escape From New York (1984) ****
To Live and Die in L.A. (1985) ****
This Is Spinal Tap (1983) ****
The Conversation (1972) ****
Mean Streets (1972) ****
Goodfellas (1990) ****
Oldboy (Korean) ****
The Taking Of Pelham One Two Three (1974 ) ***1/2
Who's That Knocking At My Door? (1968) ***1/2
Watchmen: The Complete Motion Comic ***1/2
Mad Max: Beyond Thunderdome (1985) ***1/2
Ashes of Time: Redux (Hong Kong) ***1/2
White Hunter, Black Heart (1990) ***1/2
Rent: The Theatrical Experience ***1/2
Over New England (PBS, 1990) ***1/2
IMAX: Fires of Kuwait (1992) ***1/2
Futurama: Bender's Game ***1/2
King of New York (1990) ***1/2
Solaris (2002) ***1/2
The Wrestler ***1/2
Three Kingdoms: Resurrection of the Dragon (HK) ***
Futurama: The Beast With A Billion Backs ***
Fantastic Four: Extended Director's Cut ***
Final Fantasy: The Spirits Within ***
Homestar Runner: Sbemails Volume 6 ***
Kaiju Big Battel: More Better Fighto! ***
Spinal Tap: Back From The Dead ***
24: Redemption ***
Colors (1988) ***
Homestar Runner: The 50 Best Sbemails **1/2
Fantastic Four: Rise of the Silver Surfer **1/2
An Empress and the Warrior (HK) **1/2
Achilles and the Tortoise (Japan) **1/2
Driven To Kill (aka Ruslan) **1/2
Legendary Assassin (HK) **1/2
While She Was Out **1/2
LoveDeath (Japan) **1/2
Transporter 3 **1/2
Sniper (HK) **1/2
Melinda and Melinda (2004) **
Against The Dark **
Ong Bak 2 (Thai) **
The Grudge 3 **
Mirrors **
Chambara Beauty (Japan) *

Abbott and Costello
Keep 'Em Flying (1941) ***1/2
Ride 'Em Cowboy (1942) ***
Pardon My Sarong (1942) **1/2
Who Done It? (1942) ****

CD/Music
The Alan Parsons Project: Ammonia Avenue (remastered) ***1/2
Ghost in the Shell 2.0 (score by Kenji Kawai) ***1/2
Terminator: Salvation (score by Danny Elfman) ***
Spinal Tap: Back From The Dead ***

Literature
Wrong About Japan (Peter Carey, 2004) **1/2
Sayonara Bar (Susan Barker, 2005) **

Video Games
Ghostbusters: The Game (PS2) ***1/2
Yakuza 2 (PS2) ***1/2

The Naked City

Taking advantage of a two-day-off stretch from work over the weekend, I made one of my famous one-day excursions to NYC. Stopped into the Museum of Comic and Cartoon Art, finally walked the Brooklyn Bridge, grabbed some cheesecake at Junior's at Grand Central, caught up with the awesome Brooklyn Mike (of Jungle Transmissions blog fame, linked here just to the right). Had a pretty decent & inexpensive day of fun and discovery... and even managed to squeeze in a little moment with two of the locals.

On my way to Movie Star News, the only still-operating (and legit) "theatrical one-sheet" movie poster shop that I know of, I found myself moving north up 6th Avenue to the 18th Street area when I passed by one of NY's famous "adult entertainment" establishments... the kind with glowing neon signs reading "peep show" and "novelites" in the front window masked displays. These places are common in some stretches of the 6th-7th-8th Avenue area and nothing particularly unusual makes this particular "den of sin" stand out. Except this day. Two ladies of the evening were holding court at the front door. Author's Note: I placed "ladies of the evening" in the preceding sentence in red italics not to emphasise the phrase, itself, but to point out that (1) this happened at about 3 o'clock in the afternoon and (2) I'm not entirely convinced that these ladies have, shall we say... always been ladies. Regardless, they they were and there I was.

"Hey, honey..." one of the smiling, buxom, low-cut top wearing creatures purred out to me. "Wanna come watch a movie with me?"

Normally, that would be an opening line dream for a guy like me. But like the Dyl-man says, I don't need a weathervane to know which way the wind blows. So, being me... A guy who loves to spread confusion and have fun with the masses... I just perked up, bulged my eyes, doing my best "functional but definately goofball bumpkin" voice and saying to the two aforementioned trick-turners... "Oh-boy-I-loves-movies-is-we-gonna-watch-that Watchmen-movie-I-loves-dat-movie-I-seen-it-twice-can-we-get-ice-cream-after-I-loves-me-some-ice-creams!!"

They just rolled their eyes and disappeared back into the store, presumably until I walked away.

People say there are a lot of weirdos in Manhattan.
I say... were just tourists. :)

DVD/Home Video Reviews:
No Country For Old Men: 3-Disc Collector's Edition ****
X2: X-Men United ****
Chinatown (1974) ****
Abbott & Costello: Buck Privates (1941) ***1/2
Man Stroke Woman: Series One (BBC) ***1/2 (see video below)
Keane (2004) ***1/2
Abbott & Costello: In The Navy (1941) ***
X-Men: The Last Stand ***
Ichi (2008, Japan) **1/2
Wanted (2008) **1/2