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Watchmen
zack Snyder had worked some magic with his historical deconstruction in his film 300; his choice of style and fantasy over factual matters was justified by a confident bravado. The excitement from that film was aided, I would assert, by a simpler story line, a better idea of what the conflicts were leading up to; he was able to re-vitalize a moldy collection of cliches from the cultural common stock concerning valor,bravery, loyalty.That is a fine way to go, since latter day directors like Walter Hill ("The Warriors") and Clint Eastwood ("Letters from Iwa Jima") could keep character and storyline moving along in good orderly direction so as not to stumble over tired trope or truism." Watchmen"'s cliches, though, are insurmountable, the ugly, in-the-blood claptrap that assumes a Wagnerian tedium when taken more than a hare's breadth of consideration. One by one, the pillars of banality collapse and Zack Snyder is caught underneath every bit of the blustering tonnage.— March 25, 2009 3:48 p.m.
Where can I get some peace and quiet? Not PB, not Poway, not Hillcrest, not downtown
I had had for some time refused to get a cell phone and preferred rather to rage at the yakking philistines who couldn't stand silence in public places like bus stops or airline terminals , nor be bothered to bring a book or a magazine with them if they knew they might be alone at some period in the day, between stations, with no one to confirm their bitcheness. It was a satisfying arrangement; overworked and underpaid and yet with so much unfulfilled promise that I could bare speak when my anger welled up like some dystopian stew blowing off the oppressive lid, my contempt for cell phones and the tech-addicted jerks who diluted the language with the odious devices was just the thing one needed to get a psychic leg up in the world. I was smarter, I was old school, I revered books and the words printed on them by great writers who took their mission seriously, I cherished meditative quiet and loathed boorishness, I was a man of the ages (or at least the Seventies), I was an arrogant jerk. Arrogant and a jerk, yes, but it fed my ego, made up for whatever perceived failures I might have brooded over and over as the years wore on. In the meantime, a mixed clutch of exchange students drifted toward the curb as the wayward bus finally emerged in the horizon and now approached the red painted curb, every other one of them rambling with a dead pan earnestness in the narrative tongue into cell phones wedged between shoulder and tilted head while they fumbled for bus passes or exact change. Doubtless who ever these folks were talking to knew when their phone mates would arrive, and how to reach their party if they didn't show.— January 14, 2009 5:32 p.m.
Got Smart
I'm not as interested in feeling sympathy for the character or having an emotional stake in their success as I am in whether the film makers keep me interested in how the activities and motivations converge to a satisfying end. Or at least one that makes sense in unexpected ways; to varying degrees both Nabokov and Updike accomplish this in their stronger novels--"Pale Fire", the "Rabbit" quartet, respectively-- and the inspection of how witless self-regarding imbeciles custom design their machinery of their own destruction is a difficult and rare hallmark for the truly subversive comedy. Coen brothers Joel and Ethan understand the need for the distance from the goings on of the chronic stupidity in "Burn After Reading" so that that their only agenda is imagine what echos in the deepest recess of any of these people's minds while they compound their ignoble fates with layers of strip-mall hubris. What the Coens do with unlikeable characters seeking their own glory isn't an easy thing to accomplish--Brian DePalma managed to turn Tom Wolf's crotchety (albeit readable) novel "The Bonfire of the Vanities" into a loose, baggy monster of a film (to paraphrase Henry James)that demonstrated no flair for comic rhythm. Had the Coens been in charge of that novel, we'd most likely be praising them as we had for their work in "No Country for Old Men", making note of their sharp eye for damning detail and skewed dialogue, and their effective use of an attentive if disengaged tone.— October 1, 2008 11:46 a.m.