Alison Gang

Annual Oscar Complaint and Predictions

2012-02-26T10:44:00.000-08:00

I have a serious love/hate relationship with the Academy Awards. As a television viewing event, it's by far my favorite -- even when it's torturously long, cheezy or just plain infuriating. Ripping on it is just as enjoyable as the rare moments of spontaneous elation (Cuba Gooding Jr.'s "Jerry Maguire" glee still probably tops it).

I never really had friends who enjoyed watching the telecast, which was fine because it's really a tradition reserved for my mom and me. We both know when it's acceptable to talk during the broadcast, when to keep our mouths shut and, most importantly, we've actually seen most of the movies.

And now, the hate. The entire premise that the Academy Awards have anything to do with the "best" films of a particular year is beyond bunk. It's politics, pure and simple, covered with the same depth and perspective as the horse race primary coverage for the Republican presidential nomination. None of it has to do with the actual quality of the candidate, but how much money he has in the bank and how many commercials he can put on the air. It's a competition, yes. But one of marketing savvy, not filmmaking (just ask the Weinsteins).

And even if it was a legitimate competition between films, what's the point of that? Can you REALLY fairly compare "Tree of Life" to "Hugo?" And why would you want to in the first place? Ranking art (or at least attempts at art) is a premise that completely undermines the idea of art in the first place.

And if that argument doesn't convince you how silly it all is, then this one should: "War Horse" was nominated for Best Picture. Yes, "Extremeley Loud and Incredibly Close" is also an injustifiable inclusion in the category, but at least I could sit through the entire thing. I found "War Horse" to be so tedious and predicatable that I actually got up and left half-way through, something I've never done before. (And this from a girl who has a slight equine obsession.)

It wasn't until I became a professional film critic that any of this really bothered me because it suddenly became part of my job to participate in the ranking, or at least comment on it. Don't get me wrong, I'm excited to watch the Oscars tonight. I'll be with my mom, with Billy Crystal on-screen, just like the good old days. But when so-and-so's name is announced as the winner, I won't be thinking that anyone really "won."

So now that I've taken all the joy and relevance out of the Oscars, here are my picks for the winners. Please keep in mind that politics really isn't my beat, but I did a fair amount of research -- and made a few Hail Mary picks of faith--so this really is my best effort. Let me know how you fared!

Alison Gang's Oscar Picks

84th Academy Awards 2012

You can read my justifications for the first six categories here.

Best Picture: "The Artist"
Best Director: Michel Hazanavicius, "The Artist"
Best Actor: Jean Dujardin, "The Artist" (but Clooney is almost as likely a winner)
Best Actress: Viola Davis, "The Help"
Best Supporting actor: Christopher Plummer, "Beginners"
Best Supporting Actress: Octavia Spencer, "The Help"
Best Animated Feature Film: "Rango"
Best Foreign Film: "A Separation"
Best Original Screenplay: "Midnight in Paris"
Best Adapted Screenplay: "The Descendants"
Best Art Direction: "Hugo"
Best Costume Design: "The Artist"
Best Cinematography: "The Tree of Life" (this is one of the few picks I'm making out of sheer hope, because Malick's film should be recognized for something and this would be the most fitting category)
Best Film Editing: "The Artist"
Best Makeup: "The Iron Lady" (though I really want to be wrong. I'm pulling for "Potter." If "Albert Nobbs" wins, I might jump out a window.)
Best Sound Editing: "Hugo"
Best Sound Mixing: "Hugo"
Best Visual Effects: "Rise of the Planet of the Apes" (really, how could anything else win?)
Best Original Song: "Man or Muppet"
Best Original Score: "The Artist"
Best Documentary: "Undefeated" (but I'm rooting hard for "Pina")
Best Documentary Short: "God is the Bigger Elvis" (admission: haven't seen any films in this category, but this sounds like a promising pick)
Best Animated Short: "The Fantastic Flying Books for Mr. Morris Lessmore"
Best Live Action Short: "The Shore"

Saint "Senna"

2012-01-17T18:28:00.000-08:00

My head is spinning after watching "Senna" on Netflix Instant. I can't decide which revelation to begin with so, rather than trying to finesse it, I'm going to take full advantage of the blog format and just spill it as it comes.

Before watching the documentary about Brazilian Formula One driver Ayrton Senna, I noted how my two favorite documentaries of the year --"Buck" and "Bill Cunningham New York"-- introduced me to two humble, inspirational men. First it was Buck Brannaman, the real-life "horse whisperer" who found healing and remarkable inner peace through rehabilitating horses and their owners. Then came New York Times fashion photographer Bill Cunningham, who quietly recorded the changing times from the seat of his bicycle. Both films made me want to pack a bag and show up on either of their doorsteps, asking for them to adopt me.

And now there's Ayrton Senna. I can assure you that I wouldn't be asking him to adopt me if I showed up on his doorstep (he is a simply stunning man), but my level of admiration for his honesty, humility and nearly inhuman determination would be unmatched. When it comes to the best documentaries of 2011, let's call it a trifecta of admirable men.

Then there's director Asif Kapadia's choice to use only archival video from news coverage, team footage, home movies, and POV footage from inside Senna's car as it weaves so tightly through the narrow track that you can't help but hold your breath the entire time. There are no cutaways to in-studio interviews of the players (only the frugal use of voiceover narration from a select group of insiders). There's no sense that time has passed since Senna's prime in the late 80s through the mid-90s. You are on this ride with Senna and you are given no option to get off as the tension builds.

Kapadia is able to pull this off because Senna's career coincided with the rise of video culture. He didn't have just one or two news clips to choose from for each significant event, as might have been the case had Senna been a star of an earlier era. No, the director had a veritable smorgasbord of options as everyone and their brother seemed to be sporting a video camera during this time period.

We get different angles of the same event. Close-ups of Senna in anguish over another driver's crash. Press conference footage showing the awkward tension between the rising star and his threatened World Champion teammate, Alain Prost. Who needs a carefully scripted dramatization of one man's personal quest for victory and redemption, say "Moneyball," when you can piece it together using the real players, in the real moment?

It's almost uncanny how well Kapadia assembled it all together. It's also a little frightening when you think about how the lives of today's legends in the making --or any of us average joes--could, twenty years from now, be reassembled, edited, beautifully scored (as "Senna" was by Antonio Pinto ) and retold to a public that was on the verge of forgetting.

But the film also made me feel manipulated. I fell in love with the handsome, driven young man with a heart of gold. How could you not the way he's portrayed in the film? I'm not exaggerating when I say Senna comes off as Christlike. He's devoted to his family. His faith in God never wavers. He never brags. He never accuses. He drives with intelligence, not bravado. He rarely loses, and when he does or (gasp) makes a mistake, he always acknowledges the lesson learned. He values life outside the track, dedicating resources to help poor children in his homeland and pondering where life will take him once his driving career inevitably winds down. Senna's entire nation, crippled by poverty and political oppression, rested its hopes on his bronzed shoulders.

If the man had a flaw, Kapadia doesn't show it. Even his sex life, which one must presume was robust, is merely winked at. We get no sense of Senna as a boyfriend, friend, lover. Even his familial relationships are mostly unexplored. Believe me, I wanted to go along with the "Senna as Saint" storyline. Everyone wants a hero. All the better if he actually existed. For my own enjoyment, I was willing to buy in. That was, until this prominent credit popped up at the film's conclusion:

Made with the cooperation of Institute Ayrton Senna

This is the charitable organization established by Senna's sister after his death.

All of a sudden it felt like I'd been taken in by a highly produced tribute video made by the Senna family in honor of their beloved Ayrton. That doesn't make him any less captivating, nor does it mean I'm no longer moved by the film. In fact, I can't get it out of my head. It just has an asterisk beside it now.

But I'd say Kapadia's most impressive accomplishment is his ability to weave in to the story a sort of "Formula One 101." I knew nothing of the sport other than what Sacha Baron Cohen showed me in "Talladega Nights: The Ballad of Ricky Bobby." At the close of "Senna," I understood the basics of the Grand Prix competition, both on the track and throughout the season. I got a feel for the politics and money that brought the sport to the relatively corrupt level of almost all professional sports. I even came to appreciate the immense skill the sport requires and why someone might find the thrill of being behind the wheel enough of a reason to put their life on the line.

So add an asterisk to my 2011 Best Of list and consider "Senna" to be on it.

Obligatory Best of 2011 List

2011-12-30T11:08:00.000-08:00

Well, here we are again. That time of year when I tell you how wrong it feels to whittle down an entire year's worth of films into a handy Best Of list. How does Terrence Malick's "The Tree of Life" stack up against Paul Feig's "Bridesmaids?" Do I opt for the silent glory of "The Artist" or the uncanny primates in "Rise of the Planet of the Apes?"

Film isn't just one thing -- a "movie." It's everything: art, entertainment, music, story, experimentation, hope, death, revolution, joy, sleaze, divinity, despair. To rank them on the same scale seems entirely unfair.

What I can do is offer an unranked list of titles that left an impression on me in 2011, whether for pure entertainment value, a breathtaking performance or a show of artistry that took a few viewings to fully appreciate. So here you have it, my list of notable films of 2011.

My top 5 (really 6) list appears in today's Union-Tribune. I've listed them here but click the link for a brief justification for each.

"The Artist"

"Buck" and "Bill Cunningham New York"

"Drive"

"Of Gods and Men"

"Hugo"

If I'd chosen my top five on another day, I could just have easily substituted one of these three films for "Hugo" (the other films are solidly in place).

"The Descendants"

While I was immediately blown away by Shailene Woodley's performance, it took two viewings of Alexander Payne's family dramedy to really draw me in -- but it was well worth it.

"Midnight in Paris"

With the exception of Rachel McAdams' shrill character, Woody Allen's Parisian fantasy was pure joy.

"The Tree of Life"

A visual poem that envelops you in memory, light, existence...until Sean Penn's mug drags you back to an unwelcome reality.

A few more films worthy of honorable mention:

"Certified Copy"

Having seen it only once, director Abbas Kiarostami's film is a puzzle that I've only half solved. I can't wait to give it another viewing and see what other pieces of this indeterminate relationship I can piece together. Either way, it's impossible not be be taken in by Juliette Binoche.

"Last Lions" and "Project Nim"

I admit it, I'm a sucker for documentaries about animals, especially when they take out your heart and stomp it to bits. In "The Last Lions," the circle of life is to blame for one lioness' struggles. But chimpanzee Nim can point the finger at a few too many despicable humans.

"Like Crazy"

The level of intimacy director Drake Doremus can create through this mostly improvised film is sometimes more effective than you're prepared for. And actress Felicity Jones declares herself to be the Jessica Chastain of 2012 (I hope).

"Moneyball"
I was happy to see a movie about baseball with very little baseball in it (others saw this is a negative), but Brad Pitt's performance as Oakland A's general manager Billy Beane was the film's greatest accomplishment.

"Rise of the Planet of the Apes"

I went in thinking Franco could do no wrong. I walked out thinking, "Franco, who?" This prequel was the most enjoyable surprise of the year.

"Take Shelter"
If you don't know Michael Shannon's name by now, his performance as a husband and father battling apocalyptic visions is the perfect introduction. You most certainly know Jessica Chastain's name after this year, and you'll see why yet again here.

"Weekend"

A gem of a little film about a weekend-long romantic encounter between two young men that transforms them both in subtle, unexpected ways.

Thanks to everyone who's joined me on this journey through the films of 2011. Here's to a 2012 full of good film, great friends and lots of love.

"The Artist," and I'm sticking to it.

2011-12-23T10:09:00.000-08:00

Jean Dujardin as George Valentin and
Berenice Bejo as Peppy Miller in "The Artist."
AP Photo/The Weinstein Company

With my 4-star review of "The Artist," I give away one of my top picks of 2011 (the official list runs December 30). After winning a slew of awards from critics groups and festivals (including the San Diego Film Critics Society, which voted it Best Film, my vote included), this black and white silent film is now suffering through something of a backlash with accusations that its story is too slight, the content is low-brow, and its style is merely a "technical exercise" in filmmaking. Obviously I don't agree, though I can see some of what they're saying -- but I loved the film anyway. You can read why in my review.

I was thrilled to get the chance to interview the film's director, Michel Hazanavicius (a name I will forever know how to spell after fixing it in spell check dozens of times), a Frenchman who dazzled me with his ability to articulate the essence of American storytelling during our conversation and in the film itself. You can read the story here.

You also might want to check out Mike Ryan's (Moviefone.com) astute and entertaining explanation of why "It's OK to Like 'The Artist,'" in which he somehow manages to compare the film to the 90s band The Gin Blossoms -- and have it not be an insult.

A friend recently asked me what holiday movies are a must-see for her family, which includes a husband and two college-age sons. When I recommended "The Artist" she scrunched her face up and said with disbelief, "Really? Isn't that the silent movie?" as if that meant it was far too artsy-fartsy for her family's taste. My response was that this is a very mainstream film (hence the backlash, critics are supposed to hate anything mainstream, don't you know) that is perfect for the holidays because it just makes you feel good.

The way things are going these days, I'll take it where I can get it.

Happy holidays to all! I'll post my top picks of 2011 next week.

This post will not be about movies.

2011-12-19T15:15:00.000-08:00

This post will not be about movies. I feel I deserve a short break from thinking about them after the tornado of screenings, screeners, think lists, nominations and voting I just experienced. (You can read how our critics group voted here and stay tuned later this week for my personal Best of 2011 list.)

Today I want to talk about another important part of my life -- my dog Luna, a border collie mix rescued in Baja after someone found her next to a litter of puppies that had been put into a garbage bag and thrown in the trash. My (now ex) boyfriend and I adopted her 3 1/2 years ago from The Barking Lot, a phenomenal rescue group that's worth your support.

From the moment we met, I knew she was a sweet old soul. When she first approached me, she stood up on her hind legs up and gently placed her paws on my waist. I loathe dogs that jump on me (sorry labs) but this was different. After she jumped up, she every so gently pulled me in for a hug. I swear, I am not exaggerating.

She was a shedder with white fur - two of my supposed deal breakers right there. We didn't know how old she was and could see that her teeth were a total disaster. It was love at first sight.

Once we got her home it quickly became apparent that I was her go-to human. She was fine with my boyfriend, but only if I was nearby. If I left the room, the house, the dog park, she would go in to what we came to refer to as her "dogatonic" state -- on her back, stiff as a board, totally refusing to move or react, even if she ended up being carried home (she weighs over 40 pounds).

She soon got comfortable with my boyfriend and, eventually, most men. (I try not to imagine what happened to make her so fearful of men.) But she still hung on to a general anxiousness that took a lot longer to dissipate. In fact, I can recall the moment it happened.

It was just a typical early evening walk. All bathroom business before figuring out what's for dinner. On the way home I glanced down and saw my newly transformed dog. Her normally flattened out, suspicious ears were perked up high on her head with eager curiosity. Her normally tucked tail was raised parallel to the sidewalk and swishing side to side in all its bushy glory. Her fear was lifted. She was a confident, happy dog.

I know plenty of people, usually parents, who dismiss a devoted dog owner's love for their pet. Yes, I can admit that my dog (or my cat, who I've been gaga over since 1999) is not the same thing as a human being. I can't speak for the people who spend thousands of dollars on a pure-bred puppy shipped in from Oklahoma, but when I saw my abused, beaten-down rescue dog finally become so comfortable in the life I'd given her that her entire body language changed, well, that feels really damn good.

Since then, I've made it my mission to do whatever possible to keep her ears and tail at an upward angle. Lucky for me, what she required turned out to be exactly what I needed to keep me well-adjusted and (mostly) happy: regular walks through fresh air and pretty scenery, socializing with dog-walking neighbors and, particularly now that I'm single again, a living being who is so happy to see me at the end of the day that I rush home from work excited for the moment I open the door. So, basically, we're a good match.

Though Luna seemed as happy as one animal with emotional baggage could possibly be, a friend, who is also a veterinarian, recently noticed that her teeth looked pretty bad and were likely causing her pain. This was upsetting not just because of her suffering but because my bank account had already suffered $800 worth of dental bills the year prior to have her teeth cleaned and four pulled (like I said, her bad teeth were no secret to us when we adopted her).

To hear that the original vet had barely even dinged the problem was upsetting to say the least. Forget the money. It's the almost two years since then that piss me off. During that time, her infections worsened (as did her breath) and her life was just a little less perky perfect -- all for something we could've got right the first time if only we'd been told that her dental problems were too severe for this general practitioner's skill set.

Luckily, this vet friend told us about the best animal dentist in Southern California, Dr. Brook Neimiec at Dog Beach Dentistry. It wasn't cheap (cough, cough) but after an unspeakable number of extractions, two root canals and gum surgery to root out several infections that the experienced doctor described as "pretty nasty," she's on the road to being an even happier dog.

But first she needed to do a little more suffering post-surgery. This pathetically cute picture pretty much says it all.

Unlike humans, dogs pretty much put the bad experiences behind them almost as fast as they happened. By the end of day two, she was trying to get me to rough-play with her and leaping for joy when I gave her a treat (with a pill surreptitiously packed inside).

It also seems that, since her infections started clearing up, her sense of smell has improved dramatically. On our walks she is uncharacteristically stubborn, insisting that she sniff every blade of grass, branch and fire hydrant on our normal route. The same grass, branches and fire hydrants she has showed no interest in for the six months I've lived here. This passive (non-dogatonic) resistance is way out of character and actually really annoying. But once I figured out the likely cause, I got that same surge of grateful pride. Giving a dog back her sense of smell is like getting a paraplegic to walk again.

Her ears are perked. Her tail is lifted. She is happy again and better than ever (minus 11 teeth, that is). Mission accomplished.

Scorsese for Kids

2011-11-23T14:09:00.000-08:00

Asa Butterfield (left) plays Hugo Cabret and Chloe Grace Moretz
plays Isabelle in HUGO, from Paramount Pictures and GK Films.

Watching Martin Scorsese chatting it up on The Daily Show last week was a revelation. Or maybe it was just a good sales pitch. Either way, his easygoing, lighthearted interview was a far cry from the tightly wound, uber-serious director we've come to know over the decades. Considering his latest film, "Hugo," is aimed at children, I'd say that's a good thing.

I've had my own first-hand experiences with Scorsese over the course of my career -- first as an intern in his small New York production office, and later while working on an American Movie Classics event with his Film Foundation. While I walked away from these jobs with some darn good anecdotes (most notably the time his mother Catherine - you know her as the mother of Joe Pesci's character in "Goodfellas"- nervously pumped me for information about her overworked son when I went to her apartment to pick up a homemade calzone), I also cite both experiences as the reasons why I opted out of the entertainment business as a career. Or at least the star-pleasing side of the business that requires one to jump at every command, scurry around in a hushed panic, and suppress the ballooning urge to scream, "DID YOU FORGET WHERE YOU CAME FROM?!" Clearly this was not my cup of tea.

Now that I'm happily ensconced on the outside of that nonsensical hysteria, I don't have to think about what kind of plates the great director requires for his take-out pizza or what pants his tailor needs to alter. I can shove that stuff in the gossip bin where it belongs and enjoy the results of his lifelong dedication to filmmaking and count the ways he shows his love for it in a film like "Hugo," which I review here.

That being said, I still like to spill an anecdote or two when the mood strikes.

Happy Thanksgiving!

Lean on This

2011-11-12T00:53:00.000-08:00

I closed out my day off from work/Veteran's Day/11/11/11 with Thursday night's Colbert Report, which ended on an unexpected note with Colbert, Brian Eno and Michael Stipe's a cappella performance of "Lean on Me." I'd seen a few posts about it scroll by but didn't pay much mind until I saw and heard it for myself. I was truly taken aback by how much joy and comfort that song offers, especially when these guys sing it so earnestly.

Lately it seems like even Jon Stewart and Stephen Colbert can't cut through the ugliness we're living through these days, though I still appreciate their efforts at trying. Sometimes the funniest joke can't do what a simply perfect song can, especially when it's sung by such well-intentioned people for no reason other than the joy of doing it. The crowd joined in. There was no showboating, no horsing around. It was just pure sentiment and joy. And it made me feel better.

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Brian Eno, Michael Stipe & Stephen Colbert - "Lean on Me"

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A Singular Olsen Sister

2011-10-27T13:32:00.000-07:00

Elizabeth Olsen and Sean Durkin,
star and director of "Martha Marcy May Marlene"
Photo credit: Earnie Grafton, U-T

At last, an Olsen sister who can have her photograph taken without posing in a ridiculous manner. But that's not the only quality Elizabeth Olsen has that's worth celebrating.

I spent some quality time with Olsen, star of the new indie "cult" film (literally) "Martha Marcy May Marlene," when she was in town this summer with the film's writer/director Sean Durkin. We were the only two women at a sparsely attended critics' mixer and, while the men did that thing they do where they show each other how much they know, she and I sat together at a table chatting about going to college in New York City (she's at NYU, I went to Columbia), her suddenly exploding career and how she's the first Olsen sister who actually likes performing (her sisters prefer board meetings for their company, which they've been attending since their tweens).

All in all, it was a pleasure to cross paths with Olsen at this precious moment in her life, between carefree young adult and celebrated actress.

Here's my interview with Olsen and Durkin and my review of "Martha Marcy May Marlene."

You don't have to join any "families" to see the film.

Bill Cunningham: A pure portrait

2011-10-14T07:13:00.000-07:00

My own personal fashion icon, Bill Cunningham

I'm so thankful for having had just enough free time this week to finally catch "Bill Cunningham New York" on Netflix Instant. What an absolutely perfect portrait of a true New York personality. Not the chic, filthy rich, high society New York, but a relic of the days when the city housed personalities known not for their ability to generate money, but for their truly original character.

More than the street fashion he admires enough to photograph, Cunningham himself is the work of art; perhaps the last "honest and straight" person to still be living and admired in New York. Director Richard Press captures the frugal fashion spotter exactly how he would prefer (if he didn't hate the attention so much) -- simply and naturalistically.

This delicate, touching portrait officially puts Cunningham right alongside Buck Brannaman on my extremely short list of men I wish would adopt me. If you haven't seen either "Bill Cunningham New York" or "Buck," do so immediately.

In the meantime, check out my preview of the San Diego Asian Film Festival, running October 20-28 at Hazard Center. As for the Steve Martin, Jack Black, Owen Wilson release "The Big Year," I ask that you only commit the amount of time it takes to read my review, full of many terrible bird puns that couldn't possibly be worse than the film itself.

Finally, a 4-star movie; Potter death march

2011-09-16T07:28:00.000-07:00

Ryan Gosling in "Drive"

As much as I enjoyed certain summer fare like "Rise of the Planet of the Apes" and "Captain America," this summer's been something of a slog. But Nicolas Winding Refn's "Drive," which I reviewed this week, took me on one hell of a ride.

"Drive" isn't just entertainment, it's art. Rarely do the two worlds collide, but Refn's managed it here. It's been years since a film left me buzzing with such excitement and, with a 94% Rotten Tomato rating, I'm clearly not alone. I admit that at least 1/4 of my 4 stars (out of 5) are attributable to lust for Ryan Gosling (on top of his tremendous performance). But even the male critics I talked to have admitted having a "man crush" after seeing this film. James Franco, you have been demoted -- big time.

I also must acknowledge a major milestone in my film watching life. As of Labor Day, I have seen all the Harry Potter movies, thanks to the persistence of the Sobering Conclusion's Ian Forbes, who had me on a Harry Potter DVD Death March of sorts during the month of August. The goal? To catch the final installment on the big screen. With a "Deathly Hallows" double feature on Labor Day, I can now say I accomplished something this summer.

I have to admit, I was a little disappointed. Not by the series (though the first two were enough to turn me off entirely, until Ian made his case), but by the indifference of the AMC lobby as we exited the theater having concluded the mission. I'm not sure what I was expecting --balloons, a round of applause, a tasteful awards ceremony--but a desolate lobby on a dark, rainy night just wasn't cutting it.

What I most enjoyed about the films was how they matured along with the characters and, presumably, the young audience as well. Until Ian inflicted his obsession on me, I'd only read the first book and seen the corresponding movie. While I appreciated the world J.K. Rowling created, I concluded it was one mostly for children. But children grow up and the films (and I've been told the books) take that often difficult journey right along with them in subject matter and tone. While the third film, directed by Alfonso Cuarón, is easily the best of the bunch, I appreciated how each successive film reflected the emotional phases these kids - and I imagine most kids- are going through: facing adult responsibility, isolation, puberty, sexuality, pure silliness.

While I didn't walk away with any new obsessions (Ryan Gosling wasn't in any of the films, after all), I'm glad I checked this off my list -- even if I am a few years behind the curve.

Well-Directed Rage

2011-08-19T08:13:00.000-07:00

Debbie Peagler, subject of the
documentary "Crime After Crime"

"One Day" feels like a life sentence (here's my 1/2 star review), but it's nothing compared to the disgraceful injustice suffered by Debbie Peagler in "Crime After Crime," a documentary opening today at Reading Gaslamp Cinemas. (Read my interview with the film's director, La Jolla native Yoav Potash.) If you're going to get angry while watching a film (as I did during the laughable romantic drama "One Day"), you'd at least like that anger to be intentionally provoked.

While I can't say that "Crime After Crime" is a particularly well-crafted film, you'd have to be a sociopath or robot for Debbie's story not to enrage you. While watching the DVD screener with friends, we had to pause at least 10 times just to yell at the TV and blow off the accumulating steam.

A young American soldier (Dan Dehaan)
in John Sayles' take on the
Philippine-American war, "Amigo."

I also suggest you check out the new John Sayles' film "Amigo," opening today at Horton Plaza cinemas. Sayles is one of my favorite filmmakers; I find myself wanting to sit with his characters all day, absorbing their stories, surroundings and relationships with the same patience Sayles demonstrates with his camera.

In typical Sayles fashion, he bucks all conventionality by telling a story about a war most Americans barely recall from history class - the Philippine-American war (1899-1902). Even if you're not familiar with the history, Sayles keeps the story timely by letting us into the lives of its participants at the most human level, revealing there is no clear-cut "good guy" and "bad guy" when it comes to war.

I normally describe Sayles' films as a slow burn; you may not feel a lot at first, but if you stick with it and invest, you'll be seared to the core by film's end ("Lone Star" being a perfect example). While "Amigo" took a little longer to singe, it still got me there. Thanks to the San Diego Asian Film Foundation for holding the special screening.

Finally, for the first time I attended a screening of films from this year's 48 Hour Film Project, which took place August 5-7 in San Diego. I had no idea what to expect going in, though I feared it would consist of some pretty awful movies slapped together by amateur crews over the course of two harried days.

What I saw was almost the exact opposite, but more important than the finished product was the feeling of camaraderie in the crowd, made up mostly of crew members, their friends and family. The whole event had a sort of Mickey Rooney/Judy Garland "Let's put on a show!" vibe to it and I left wanting to sign up for next year. What better to way to punish a film critic than to have her PA on a no-budget film!

Whatever you decide to see or do this weekend, make it a good one. Summer's almost over after all.

Book vs. Movie: "The Help"

2011-08-10T21:51:00.000-07:00

In Jackson, Mississippi in 1963, Skeeter Phelan
(Emma Stone, left), Minny Jackson (Octavia Spencer, center)
and Aibileen Clark (Viola Davis) build an unlikely friendship
around a secret writing project in “The Help.”
©DreamWorks II Distribution Co., LLC.

A reader recently emailed me with a good question. When applicable (and it seems to always be these days), do you judge a film based on how compares to its source material -- be it a book, play, graphic novel, whatever -- or do you judge it on its own merits, without consideration to its roots?

Honestly, I didn't have a strong opinion either way. If I knew the source material--and liked it--then it mattered. Or not. But when "The Help" came along, I made up my mind.

Knowing I would be reviewing the film in August, I picked up a copy of "The Help" in July, fully expecting an insult to my intelligence. Instead I was captivated. In fact, I had what I would call a bit of a claustrophobic attack as I finally understood on an emotional level just how trapped the African American characters were. I knew all about Jim Crow, segregation and lynchings---but I never really understood how living under that oppression might feel it until I read "The Help."

Because I was scheduled to interview the book's author, Kathryn Stockett, and Bryce Dallas Howard, who plays Hilly Hollbrook in the film, I needed to see the movie before I was able to finish the book. In fact, I was about 30 pages from the end, so when I sat down in the theater that weekday morning, all I could think about was where I'd left Aibileen and Milly on paper, and how their world was different or the same in the movie that was unfolding before me. It was the most distracted I'd ever been watching a film and I knew before I got to my car that I'd need to see it again before I wrote my review.

By the time that second viewing came around I'd long finished the book and was able to see the movie with a fresh perspective. Instead of noting all the similarities and differences, I focused on the story being told on screen -- and I liked it a lot more than I did the first time around.

So, in answer to the reader's question, I now say this: If you have the option, see the movie first. Then read the source material. Chances are, you'll be distracted from neither and remain fair. At least that 's how I'm going to do it from here on out, which works out well since I barely have time to read these days anyway!

Here's my review of "The Help" and my interview with Kathryn Stockett and Bryce Dallas Howard.

I also reviewed "30 Minutes or Less" this week (in Friday's paper), but if you are contemplating seeing that, I recommend reading a book -- any book--instead.

Brit Marling is indeed from "Another Earth"; "Apes" vs. Franco

2011-08-05T09:53:00.000-07:00

Reading Brit Marling's bio is a slightly sickening experience.

The star and co-writer of "Another Earth" graduated valedictorian from Georgetown University with a major in economics, then turned down a lucrative career in finance to become an actress and artist. Instead of struggling through her 20s waiting tables in LA and slugging through auditions, the natural beauty formed a winning creative partnership with director Mike Cahill, first with the documentary "Boxers and Ballerinas," and now the indie Sundance hit, "Another Earth."

But when you meet the poised, bright-eyed young woman, you understand her success -- and eagerly await what comes next for her as an actress and co-writer/producer with the equally enthusiastic and impressive Cahill.

Read my interview with both of them here, then check out my review of "Another Earth."

Speaking of alternate realities, how about apes taking over the planet? I went in to "Rise of the Planet of the Apes" thinking, "Hey, Franco's in it -- that's all I really need." I walked out thinking, "Franco who? Go apes!" Read my review of "Rise of the Planet of the Apes" here.

Whatever planet you visit, enjoy the weekend.

Whatever Will I Wear?

2011-07-28T12:24:00.000-07:00

In today's Night & Day section, you'll find my preview of the La Jolla Fashion Film Festival, taking place this Friday and Saturday. While the event is centered around two nights of short films screened at the Museum of Contemporary Art La Jolla, the gathering itself is all about the fashionistas it hopes to draw.

My interest in fashion falls under two essential categories -- comfort and cost. And my wardrobe reflects that. So the thought of actually attending the festival didn't even cross my mind. That is, until the festival's director, Fred Sweet, simply insisted that I find something funky to throw on and be a part of the festivities. What can I say? He's very convincing.

But I wasn't going to go without some support, so I reached out to my two fashionable friends (at least they are compared to me) and invited each to be my plus one for the festival's two night run. If they can't help to elevate my look, then at the very least I'll be with people who looks like they belong there.

Meanwhile, I'll be enjoying the scenery as I'm sure there will be plenty of quality people watching. Isn't that what fashion is all about -- getting people to look at you?

Celebrity Crush: Chris Evans as Captain America

2011-07-22T09:09:00.000-07:00

Here's what I didn't say in my 3-star review of "Captain America: The First Avenger."

Hubba-hubba.

I know. It's a dorky, old-fashioned way to ogle a member of the opposite sex (or same sex, if that works better for you). But it seems entirely appropriate for a movie that takes place in an era when words like "dame" and "gams" are being thrown about.

It's also a reflection of how articulate I felt when I first saw Chris Evans emerge from the experimental sarcophagus as Captain America. OK, OK, he's shirtless in the scene, which is entirely designed to make the women in the audience (and in the scene) swoon, and the men re-up their gym memberships.

But as the film marches on and Evans remains clothed and presumably virginal, he only gets more breathtaking. Or maybe I just like a man in uniform (not the one that involves tights, though he carries that off pretty well too).

"Ghost World" 10th Anniversary Screening (God, we're all old)

2011-07-19T22:24:00.000-07:00

It wasn't that long ago that the San Diego Film Critics Society (proud member here) began talking about putting together a 10th anniversary screening of the movie "Ghost World" during Comic-Con.

At first I thought the idea was preposterous. Not because it seemed impossible that we could pull it off so quickly--and during the craziest week that San Diego sees all year (although that did cross my mind). But because it seemed simply out of the question that this fantastic little movie could possibly be a decade old.

But it's true. We pulled off the screening (it's this Saturday night) AND we got Thora Birch to show up in person!

Unfortunately, it's also true that we're ten years older. But at least we can take some comfort in knowing that Scarlett Johansson has inched that much closer to 30 (only 3+ years to go!) -- and her boyfriends have crossed the half-century mark.
But Thora Birch hasn't aged a day. And of course I'm not saying that just because she agreed to attend our 35mm screening of the Terry Zwigoff-directed film this Saturday night.

Thora Birch with her award at SDFCS' banquet in 2002.
(Terry Zwigoff and Daniel Clowes also attended.)

If you've seen this highly quotable movie, which was based on Daniel Clowes' comic book, then it's probably time you saw it again and rejoiced in its originality (still far too rare an occurrence, especially in the context of Comic-Con).

If you haven't seen it, then it's about damn time. There's a reason SDFCS showered it with awards in 2001, including Best Director (Zwigoff), Best Adapted Screenplay (Zwigoff and Clowes) and Best Actress (Birch).

Even if you're not a Comi-Con passholder or a comic book geek (of which I am neither), you're guaranteed to love the movie, or no money back (hey, it's only $5).

"Ghost World" 10th Anniversary Screening, with Thora Birch in Person!

Presented by the San Diego Film Critics Society
in conjunction with Reading Cinemas & Fantagraphics Books

Saturday, July 23 @ 9pm

Reading Gaslamp Cinemas

701 Fifth Avenue, Downtown San Diego

Only $5 - Buy tickets here

Time Traveling with Larry Sanders

2011-07-10T16:07:00.000-07:00

I moved a few weeks ago and have been unpacking bit by bit, taking time to think through how my life's going to flow in this new space -- my workspace, media set-up, acquiring of grown-up furniture, pet management and setting up a kitchen that I promised myself I'd actually use this time.

While I putz around the apartment moving things here and there, I play something from Netflix Instant on my computer-- usually a TV show that's light, doesn't require focused attention and offers a big chunk of continuous episodes, since this seems to be taking forever. I settled on The Larry Sanders Show.

I was in college when Larry Sanders was on HBO and, while I heard plenty of praise for the series about a fictional late night talk show, I was too busy and too broke to watch cable TV. If you're familiar with the show, then you can imagine how much fun I'm having watching it for the first time -- in five-hour chunks no less. It's not only helped pass the time, it's helped lift me out of the post-break-up blues on more than one occasion.

But I think I'm getting more out of the Larry Sanders in 2011 than I would've in 1992. Namely, nostalgia. Though the show itself is timeless (until the dinosaur late night talk show format becomes extinct, anyway), the references aren't: jokes about a philandering Bill Clinton, celebrity guests like Richard Simmons, Mimi Rogers, John Forsythe, Dana Delaney, a pipsqueak David Spade, my hero Carol Burnett, a scrappy, dearly departed Peter Falk. Plus the "up-and-coming" show regulars like a goth Janeane Garfalo and a perennially douche-baggy Jeremy Piven (but in a good way). And let's not forget the fashion, which looks more 80s than what I choose to remember.

It's so authentic, I almost feel 20 again while I'm watching it. But maybe that's just because I still can't afford cable.

Kiddie Flicks

2011-06-24T13:42:00.000-07:00

As a freelance critic with a full-time day job, I only have time to review one or two movies per week. So when it's time to choose what I'm going to review for the month, I tend to skim over those titles that are geared specifically to kids, while silently pitying the parents who have to accompany their offspring to what I can only imagine is a semi-torturous two-hour babysitting session.

It's not the kids themselves that bother me. In fact, I usually get a little tearful when I see kids having a genuine reaction to what they're seeing onscreen. My real problem is the cranky old lady who's lived inside me since I was a kid myself. I simply don't have patience for the inanity of the onscreen antics cobbled together to cater to short attention spans: fart jokes, bonks on heads, corny kindergarten-level life lessons, etc.

These kinds of movies are easily avoidable for a "civilian" without kids. But for a film critic, it isn't always so easy. Still, I'm a professional and capable of applying my critical skills to a film of any type, right? Sure, but it seems unfair to apply my perspective--one that is severely lacking in little kid input--to a movie that has no intention of pleasing an audience member like me. I have no clue what little kids like. What might scare them. Or what a parent might find unacceptable. What could I possibly add to what a gazillion mommy bloggers and "pro-family" movie review sites already do so effectively?

When I try to tap into my own preferences as a child, I go straight to Mary Poppins, Sound of Music, Annie and the Muppet movies (yes, I'm pumped for Jason Segal's Muppet reboot in November) -- all classics that most adults would enjoy on their own. But you would never have caught me at a "My Little Pony" kind of flick back then. And certainly not today.

But I have no problem getting excited about and reviewing movies geared for kids and adults. You know, a Pixar movie. So I happily included "Cars 2" on my review list for June, and even signed on for an interview with one of the film's directing animators, a San Diego native with a darn cool success story.

I'm not gonna lie, I was expecting greatness. How could I not after the phenomenal run Pixar's had over the last 15 years, culminating in one of the best films of 2010, "Toy Story 3" (my original review here).

Unfortunately, what "Cars 2" delivered was strictly for kids. True, its animation was top notch, but the goofy antics took center stage over story and character. And the character they chose to focus on, Mater, drove me up the wall. Yes, it's true. The Pixar streak (at least for grown-ups) is over.

You can read my "Cars 2" review here and my interview with Pixar animator Victor Navone here.

If you do end up taking your little ones to see it, do me a favor and tell me what THEY thought (and what you thought as well). Consider it field research as a favor. Or dump the kids at the cineplex and rush over to Landmark Hillcrest to catch "Buck," "Midnight in Paris," or even the quirky "Submarine" (my review here). Don't worry, I won't tell.

Whatever you do, enjoy your weekend.

My man "Buck"

2011-06-23T09:13:00.000-07:00

I've always said that if I didn't have kids, I would get a horse. The reaction I get to this statement is usually a laugh, like I'm joking, or just an expression of polite confusion followed by a change of subject. But as the new documentary "Buck" (opening Friday at Landmark Hillcrest) recently reminded me, the relationship between human and horse is no joke.

OK, maybe it's not the same as hearing your pudgy baby say her first words, but it can be a meaningful --- sometimes life-saving---bond for human and creature alike. At least for people like me and, of course, for horse training guru Buck Brannaman.

Growing up, I was never one of those over-the-top "horse girls." No horsey clothing in my closet or pony posters on my wall. But I had a few friends like that and knowing them gave me the chance to interact with horses more than once a year at camp. I spent one summer shoveling manure at some local stables in exchange for free riding lessons (English, blech). And when I moved to New York City for college, I often took little field trips to Central Park South just so I could pet the carriage horses and spend the rest of the afternoon smelling their dusty odor on my hands -- and loving every whiff.

But what topped it all was the brief but blissful six months in middle school when I co-owned a horse with my best friend. Perhaps I've romanticized it a little, but my memories of rushing to the stables after school, throwing a pad on Tess' back, and galloping through the nearby field was the closest thing to total freedom and pure joy I could ever imagine.

Yet, I could never really articulate to people why I would be OK with a horse as my Plan B. I haven't had contact with one in any meaningful way in over a decade and, if you look at my life today, you'd think I was more capable of becoming a crazy dog lady than a horse fanatic. So what makes me so sure that horse ownership would satisfy me on such a deep level?

Twenty minutes into "Buck" and, for the first time in my life, I truly understood. Horses help you to see--and maybe even heal--yourself. They're majestic, intelligent creatures. They're also instinctively fearful and, if that fear is allowed to fester, can become dangerous.

In Buck's case, he lost his mother as a boy and suffered extreme physical abuse at the hand of his father. As a young man, he was crippled with fear, unable to trust and terrified to interact with others. When he got in a ring with an unbroken horse, he immediately recognized and remembered that instinct to flinch, defend, run.

This understanding is what makes Buck the legendary "horse whisperer" that he is (yes, he was an advisor on the Robert Redford film). He's not training them, he's teaching them to trust. This method doesn't require a whip, but an energy, a stance, maybe a flick of the wrist. In a sense, he is re-parenting himself in each exchange. Whatever it is he's doing it worked, because Buck Brannaman appears to be the most peaceful, accepting, well-adjusted man I've ever come across.

He's also married (darn) and a giving father to his teenage daughter who, of course, adores and respects him. And they live in Montana (CORRECTION: they live in Wyoming, but much of the film takes place in Montana), a state I have never been to but, after seeing this breathtakingly picturesque film, I plan on visiting as soon as possible. (I watched the film on DVD but plan to see it again on the big screen, and you should too.) When I get there, it will take every ounce of restraint not to show up at his front door and beg him to marry me. Or adopt me. Whatever he prefers.

While I certainly didn't have a childhood as traumatic as Buck's, I faced unique challenges in my youth that made life rather unpredictable and sometimes scary. As I grew up, my generalized fear displayed itself as nervous, defensive energy -- a quality shared by just about every horse Buck works with in the film. I've known this about myself for awhile, but it wasn't until I experienced this film that I really understood why I'm so drawn to horses, and why I could accept caring for one as a second-best alternative to having my own family.

First-time director Cindy Meehl's documentary follows Buck on his grueling travels across the country, leading what feel like self-help seminars for human and horse. He also attracts crowds who pay good money just for the chance to see his graceful method in action. His students speak of him as if he's the Dalai Lama and, by the time the film came to a close, I felt the same way.

Don't worry, I'm not going to spend my life savings on a horse anytime soon -- I still haven't entirely given up on the baby/husband thing. While I try to figure that out, my relationship with my dog -- a Mexico rescue with plenty of baggage herself -- will have to suffice. While I'm no dog whisperer, at this point I can pretty much lead her without more than a subtle request. If only I could saddle her up.

Legends on the Line: Interview with J.J. Abrams and Review of "Super 8"

2011-06-10T08:24:00.000-07:00

You know you're having a strange Sunday morning when your telephone conversation with J.J. Abrams about working with Steven Spielberg is interrupted by a call from Spielberg himself. Lucky for me, Abrams took the call while leaving me on the line, able to hear at least one side of their conversation.

It wasn't anything juicy; mostly about how things were going during the lead-up to the release of the Abrams' new film "Super 8," produced by Spielberg and very much in the style that made him a filmmaking icon.

But the distinctive shift in Abrams' demeanor -- from subdued, serious director to overeager, young filmmaker practically jumping out of his skin when his childhood idol called to say hi -- was all I needed to get just how sincere Abrams is in his tribute to Spielberg throughout "Super 8." It was also pretty damn cool for a nosy girl like me.

Read more of my interview with J.J. Abrams and also my review of "Super 8."

I'm moving this weekend so I'll be taking next week off. But if you need another recommendation to tide you over til then, I enthusiastically point you to Woody Allen's "Midnight in Paris." Simply delightful --especially for nostalgia whores like me.

If you are a Terrence Malick fan, you probably already have plans to see "Tree of Life," out this weekend in San Diego. While I was intrigued by its visual poetry, I couldn't help but think that the film thinks it's deeper than it actually is. But with a filmmaker like Malick, who takes years to assemble his thoughtful work, I absolutely owe it a second viewing. Especially after the treat of seeing his 1978 masterpiece "Days of Heaven" on the big screen for the first time last weekend (thanks Reading Cinemas and KPBS' Beth Accomando for making that happen!). I could've watched that movie for days.

My "Hangover" hangover

2011-05-27T07:44:00.000-07:00

I fully expected to hate "Hangover Part II." And I don't mean the "Oh, another sequel that'll never be as good as the first one" kind of hate. More like the loathing kind of hate.

First off, I could never muster the kind of enthusiasm everyone else seemed to have for the original, so I wasn't expecting round two to be any better. Plus, I consider Bradley Cooper to be "date rapist good looking"-- not exactly my type.

And I'm getting sick of the hard-partying bromance genre, especially when it's trying to coax money out of my pocket in such an obvious manner. While I know everyone is all hot in the panties over "Bridesmaids" being the long awaited female answer to the genre, I felt just as mildly pleased with that movie as the first "Hangover."

Combine all this baggage with every critic's dread of the summertime sequel and you have some L-O-W expectations.

So I was as shocked as anyone by how much fun I had at "Hangover Part II." (Read my review here.) It takes a lot to get me to laugh out loud in a movie theater, especially when I see it on my own, as I did with "Hangover Part II." But that night there were many times when the only laughter I heard in the theater was mine (if you know me, then you know my giggle is distinctive). I even found myself laughing so hard that I missed seconds of screen time, which explains how I missed the image during the uproarious end credit photo slideshow that has some critics, like Roger Ebert, outraged. Since somebody told me about it, I have to admit it does sound like terrible judgement.

I was chatting online yesterday with Chicago film critic Locke Peterseim, who found the sequel to be as loathesome as I thought it would be, describing it as as "a smug, mean little exercise in anti-life, anti-human hate and loating." And he liked the original film!

Between the two of us, I think we figured out that a lot of it comes down to expectations. Mine low, his high. I raved, he ranted. Can't say I entirely disagree with many of his reasons for hating it. But I also can't argue with how absolutely exhausted I was from laughing as I walked back to my car to drive home alone.

Plus, everyone knows that penises (in most situations ;-) are just plain funny. And there are plenty of them in "Hangover 2." Consider yourself warned.

Read why I loved it in my review. And if you see the movie this weekend, tell me if you're taste is as deplorable as mine.

Tease Me More, Tell Me Less

2011-05-24T21:17:00.000-07:00

We usually don't see previews at advance screenings and I'm usually thankful for it. I generally avoid them, preferring instead to see a movie as close to "cold" as possible in an attempt to avoid any preconceived notions before the lights go down.

But this week's screening of "Hangover 2" (review out on Friday) presented us with two appropriate previews for upcoming comedies "Horrible Bosses" and "Crazy, Stupid, Love." The crafting of an effective preview is an art in and of itself -- at least in the realm of marketing--and these two trailers managed to convince me I should see the movies within the first 45 seconds. Job well done, if only they'd stopped there.

Although the premise of "Horrible Bosses" (premeditated triple homicide) is hard to stomach as comedic fodder, the cast alone could make this movie a winner: Jason Bateman, Jason Sudeikis, Charlie Day, Kevin Spacey returning to his unbeatable "Swimming with Sharks" roots, a sadistically sexy Jennifer Aniston and, what really wowed me, a nearly unrecognizable Colin Farrell as a smarmy, balding boss.

Enough said as far as I'm concerned. So why, oh why, did it KEEP ON GOING, revealing just about every plot turn and punchline? On its own, it was a fantastic preview; it got me laughing, kept my attention and made me want to tell my friends about it. But what I don't feel like doing is rushing to the theater to see it. Why would I? I already got the gist in the damn preview.

"Crazy, Stupid, Love" went even further, basically storyboarding the entire will they/won't they relationship between Ryan Gosling and Emma Stone. I adore Gosling and am chomping at the bit to see him in a comedic role. And Stone is quickly moving to the top of my list for the everygirl charm that makes her so much more appealing than the cookie-cutter starlets vying for our attention (does anyone else think she stepped right in where the young "Mean Girls"-era Lindsay Lohan should have gone had her parents not turned her in to an unstable addict? Well, I do.) While I'm still eager to see the movie (it's hard for me to say no to anything with Gosling, or Franco for that matter), I'm resentful that I already know too much.

Perhaps we could just save everyone the trouble and just produce previews instead of full-length feature films? They'd certainly play better online and are probably more appropriate for the youthful attention spans of Hollywood's target market.

Hardly a new complaint, I know. But hey, it's my job to spout opinions.

Watch the previews if you dare. And if you do, tell me what YOU think....

How I witnessed TV history for minimum wage

2011-04-29T08:27:00.000-07:00

This week I reviewed the documentary "Exporting Raymond," which follows "Everybody Loves Raymond" creator and writer Phil Rosenthal to Russia for an ill-advised attempt to translate the All-American, Average Joe sitcom for Russian audiences. It's funny, utterly ridiculous and true (even if the whole impetus for the project was to make a documentary about how funny it would inevitably be). You can read my review here.

But what made me want to review the film in the first place was good old fashioned nostalgia and a slightly unnerving love of television history. (I was the only person I know who got an A+ in my college History of Television class --yes, even in the Ivy League people -- and my enthusiasm and performance in that 200+ person class landed me an internship at Martin Scorsese's production company. Fodder for another post I think). Having grown up on television with a penchant for the oldies (Little Rascals of "Our Gang" fame, "The Twilight Zone" and "The Dick van Dyke Show" being just a few of my favorites), I knew I was going to work in "the entertainment business"--whatever that was.

Outside of internships with hypochondriacal directors who think typewriters are "too loud," my first paying job in the business (if I may use the term loosely here) was as a page at Paramount Studios, the oldest working studio lot in Hollywood.

You're probably thinking, "Oh, a page -- like Kenneth from '30 Rock!'" Not exactly, but we did have to wear terrible polyester suits, with the women getting the added humiliation of having to don a skirt with hose and a saggy bow tie thingy straight out of a late-1980s office wear catalogue (this was 1996). Here's 23 year-old me proudly posing in front of the famous Bronson gate, sans horrible suit jacket.

Yes, I do look proud because, even though my paycheck was paltry to say the least, I got to spend my days roaming freely around a studio backlot, soaking up film and television history at every turn. I also got to share it with the hordes of tourists assigned to me as their guide for our walking tour through the backlot.

While they spent their time wildly looking around for any signs of a movie star (never happened, unless you count Eddie, the dog from "Frasier," or that host from "Entertainment Tonight" who was often mistaken for Tom Cruise--something I usually didn't attempt to correct), I happily rattled on with great reverence about the empty tank (now in a parking lot) that was used to part the Red Sea for Cecil B. DeMille, or that building where Lucille Ball and Desi Arnaz made monumental television together. Rare was the tourist who cared, so I made sure to point out the grassy corner where Bobby Brady got in a fight defending Cindy in that episode of "The Brady Bunch," which usually pleased them.

Besides giving underappreciated public and VIP tours (we got to drive carts!), pages also worked the audience at TV show tapings. Worst job ever. All those poor tourists, lured from Hollywood Boulevard by some obnoxious pamphleteer, who now find themselves standing in a long unmoving line, waiting to find out what TV show they'll get to see taped. Of course, they'd all been told they'd see "Frasier" or "Wings" or something of the sort, but more often than not they got funneled into the shows with less demand and more need for people willing to laugh for free at the same joke over and over again. By the time you drag the sunburned bunches into the sound stage of "Sister Sister," you better be prepared for a riot.

During my six-month tenure on the lot, I was tapped to be one of those poor souls. If you think it's tough to fill the seats for some obscure UPN show, then imagine how hard it is to find people to sit for hours in a freezing cold sound stage for a pilot show that nobody's ever heard of. That's when they call in the pages, baby. Minimum wage is about as close to free as you can get, so when the producers of a pilot get desperate, they pick up the phone and get some pages on loan.

And that's how I ended up in the studio audience for the pilot episode "Everybody Loves Raymond" -- or as we identified it when we first got there, "some sitcom starring a stand-up comedian we've never heard of." We were thanked profusely for being there and it soon became clear why -- a pilot episode needs to be tight, perfect. It's a sales tool to show the network the magic that you've assembled among the cast members, writers and crew. It also takes a REALLY long time to get it right.

Did I know the show was something special? At the very least, I had a feeling it was going to be different based on the fact that it was produced by David Letterman's company, Worldwide Pants. (Dave's blessing meant a lot to me when I was in my early 20s). And when they introduced Peter Boyle, the best part of one of my favorite comedies "The Dream Team," and his on-screen wife, TV legend Doris Roberts, I knew this was a show aiming to make history.

But I also knew that rush hour was approaching and I didn't want to be stuck in Universal City any longer than I had to. And I resented the fact that our page supervisor treated us like wooden pegs that he could shuffle around as needed, always threatening to "blackball" us if we disappointed him (yes I was naive enough then to believe him).

But isn't that what it's like to work in Hollywood? Excitement and celebrity mixed with resentment and traffic? No wonder I left such a glamorous life behind.

Put the DVD down, and your hands up!

2011-04-24T09:30:00.000-07:00

Dear Movie Studios,

I always thought you wanted me to like your movie -- even when I know that you know that it sucks.

But after enduring another DVD screener with security warnings and water marks sprayed like graffitti over 2/3 of the screen for 2/3 of the movie, I'm pretty convinced that you don't.

In fact, it seems like you're just being mean. You are calling me a thief after all. What else am I supposed to think of your ridiculously elaborate security measures, which now include special PIN numbers to watch the DVD?

I am a professional person doing a job. If you don't agree, then why are you sending me the DVD in the first place? So let me do my job. Let me SEE THE MOVIE.

It's hard enough to give a film the attention it deserves when you're watching it on your living room television. Your incessantly flashing warnings and reminders that ACME Studios owns this movie don't help.

I get it. People are stealing your content. It's a huge problem and I'm sure your stockholders don't like it one bit. But you can't possibly think that a bunch of renegade movie critics are the culprits? That would require them to actually do something besides watch movies and argue about them with their friends.

So while we're jumping through all of your security hoops, your threats to fine us or send us to jail, the hurtfulness of your unspoken accusations (cue tiny violins, please), the real thieves are downloading, sharing and selling your movies on street corners in China and in some teenager's bedroom.

But you're paranoid, I know. And I kind of don't blame you. But I also don't have to like it. Which means I'll be sitting there, watching your movie on my TV-- and not liking it.

I'm just saying.

The Greatest Movie Ever Sold: Review (2 1/2 stars), Interview with Morgan Spurlock

2011-04-22T07:57:00.000-07:00

I've never been one for approaching celebrities I encounter "in the wild." I mean, really --what could I possibly say to them that would make me any different than some other slobbering fan? "I like your movies." Duh. "You were really good in X." Double duh.

When it comes to interviewing them, it's not even a question. We're both there to do a job. Get in, ask your questions, get your answers, get on with your day.

But when it came time for me to interview filmmaker Morgan Spurlock about his new documentary "POM Wonderful Presents: The Greatest Movie Ever Sold," I threw my point-and-shoot camera in my purse alongside my notepad and had no problem asking for a snapshot of the two of us post-interview.

Why? Well, of course I'm a fan. How can you not be? He's charming, clever, and willing to challenge mainstream thinking. I loved "Super Size Me" but was an even bigger fan of his TV series "30 Days." If this was my only motivation, I'd still keep my mouth shut and go about my business asking questions and trying to get him to say something, anything, he hasn't already said in the countless interviews he's done over the last month.

The reason I happily packed my camera and captured this poolside snapshot? The logo-covered suit of course. He's a walking billboard--and an extremely enthusiastic one at that--and what kind of billboard asks you to respect its privacy?

Here's my interview with Spurlock about his very meta experiment in making a documentary about marketing and advertising by funding his entire film with marketing and advertising. And then find out what I thought the film in my review, out today.

And by all means, go out and enjoy an ice cold glass of anti-oxidant rich POM Wonderful, would ya?

"Scream 4" - No Charge

2011-04-15T10:00:00.000-07:00

Well, it looks like the Weinsteins decided I needed a week off from reviewing.

Instead of spending my Tuesday morning at a "Scream 4" press screening, I showed up at my day job at a normal hour, then spent the evening leisurely making a dent in my Netflix queue.

I was actually disappointed when they called off the press screening the night before. Sure, I knew the movie was probably a train wreck--based not only on the last minute cancellation of the press screening, but also on the reports of friction during production that resulted in the franchise's brainchild Kevin Williamson (you can thank him for Katie Holmes and that guy who played Dawson) leaving the film halfway through the shoot.

But for me, revisiting the franchise after a decade was more an exercise in feel-good nostalgia than "cinema appreciation." I can still recall how thrilled I was by the 1996 original: the genuine shock when Drew Barrymore got herself gloriously hacked in the opening scene, the refreshing/bordering on annoying jabber of overly articulate teenage brats, the shameless waving of the movie geek freak flag..... the freshness of the experience was enough to let me love the original, endure the sequel, pretend the third didn't happen and, after a decade of sub-sub-sub par knockoffs and the genre's unfortunate plummet to torture porn, "Scream 4."

So here I sit, spouting opinions and ideas about the "Scream" franchise, without getting paid a dime. I doubt the Weinsteins have such problems - or at least they don't fret over such paltry amounts of lost income.

If you actually do fork over your hard-earned cash to see it, by all means make it a matinee--and tell me how it was.

Enjoy your weekend.

"Hanna": Review (3 stars) and Interview with Director Joe Wright

2011-04-08T08:33:00.000-07:00

I wasn't expecting much for my interview with "Hanna" director Joe Wright. Not only was he almost 30 minutes late (a radio interview ran long), but he was clearly exhausted by the time he shook my hand and collapsed onto his chair.

But even through the exhaustion (a one-month old baby and a hefty promotion schedule are the likely culprits), the British director impressed me with his clarity of vision, passion and--most of all--feminist perspective. Not to mention the easy job I had of transcribing the interview due to his British mannerisms full of polite qualifiers and other Hugh Grant-ish verbal fillers.

Photo: San Diego Union-Tribune/Peggy Peattie

You can read my interview with Wright here. I think you'll be impressed with him too. (I was even more pleased when Wright went public with his criticism of the portrayal of women in the marketing campaign for Zack Snyder's "Sucker Punch," a movie I simply refused to see for that very same reason.)

Then read my review of "Hanna," Wright's fairy tale action movie starring his teenage muse Saoirse Ronan (the Oscar nominated young star from "Atonement").

I also caught "Your Highness" this week, hoping for a much needed laugh. I got a few but not nearly as many as I expected (I could count the seconds in every scene where opportunities for humor were missed). Still, you won't hear too much complaining from me when James Franco and Natalie Portman are on screen - even when they're sharing that screen time with a graphic depiction of minotaur penis. Yes, you read that right. Minotaur penis.

Enjoy your weekend!

"Win Win" interview, review (3 stars); Source Code (2 1/2 stars)

2011-04-01T08:40:00.000-07:00

The last two weeks have been jampacked with press tours and I'm heading out the door for yet another, this time with Morgan Spurlock, director of the new doc "Pom Wonderful Presents: The Greatest Movie Ever Sold." That story will run April 22, along with my review of the film.

But in today's paper is my interview with writer/director Tom McCarthy and the teenage wrestler, Alex Shaffer, who stars alongside Paul Giamatti in the new film "Win Win." Both were a delight to interview and I was struck by the relationship between the novice actor and the director--also a working actor who's known for being tough on his performers. Read the full story here and my review of the film here.

I also reviewed "Source Code" this week, the new Duncan Jones-directed film starring one of my celebrity crushes, Jake Gyllenhaal. Read my review here.

Next week, my interview with "Hanna" director, Joe Wright.

Happy weekend!

Reviews: Jane Eyre (3 stars); I Am (2 1/2 stars)

2011-03-18T12:44:00.000-07:00

If you're as emotionally beaten up as I am by the happenings in the world over the last week -- the disaster in Japan, the House's anti-NPR bill, the draconian cuts to education and social programs in California (including my full-time employer UC), and more I can't bring myself to think of -- then the two films I reviewed this week might serve you well.

The dreamy Michael Fassbender as
Edward Rochester in "Jane Eyre"

First, find comfort in the familiar with the umpteenth film adaptation of "Jane Eyre." With so much unforeseen devastation in real life, sometimes it's nice to know exactly who is hidden in the attic. But still, director Cary Fukunaga's version stands on its own and is certainly worth a trip to the theater (Michael Fassbender's jawline alone is worth the price of admission). My full review here.

Director Tom Shadyac (left) and
Archbishop Desmond Tutu in "I Am"

If you're feeling lost, ashamed of the direction this country is taking, or just in the mood to reflect on the bigger themes of life, there's Tom Shadyac's philosophical treatise of a documentary, "I Am." It's not the best or deepest bit of filmmaking I've seen, but the "kumbayah" ideas he brings to the table go down as easy as mom's homemade chicken soup during times such as these. My review here.

Whatever it is you do this weekend, make it a safe and peaceful one.

Reviews: The Last Lions (4 stars); Of Gods & Men (4 stars)

2011-03-11T13:42:00.000-08:00

Movies can seem rather trivial when compared to the disaster in Japan, but I'm relieved to say I've been in communication with my dear friend in Tokyo who is "shaken, but not stirred." His reports of the experience are frightening however and I wish him, the people of Japan, and everyone else in the wake of the resulting tsunami (maybe us?) well.

It's appropriate then that both the films I'm talking about today tackle serious, or at least contemplative, subjects--endangered lions in Africa ("The Last Lions") and endangered monks in Algeria ("Of Gods and Men").

I was privileged to be able to sit down for an hour-long conversation with filmmakers and National Geographic Explorers-in-Residence Dereck and Beverly Joubert, whose film "The Last Lions" left me a blubbering mess. They apologized in good humor when I told them that the film, at times, felt like "Schindler's List" for animals, but I insisted that it was worth every tear. You can see why in my review of the film.

But the best part was talking to this incredibly serene (and impossibly attractive) couple about their lives in the bush, where they've happily made camp for the past 28 years, their experiences in such close proximity to these breathtaking lions, and their own emotional response to what they witnessed during the filming of this incredible documentary. I could've written another 5,000 words about them (and then snuck into their suitcase for their return to Botswana), but had to whittle it down to a newspaper-sized story. I hope you'll read it.

I also strongly encourage you get to the theater to see "Of Gods and Men," a beautiful portrait of brotherhood, faith, community and duty, directed by Xavier Beauvois. If you told me that I would walk out of the theater with a complete understanding why someone would opt for the quiet life of a Trappist monk in a small Algerian village, I would've said you were insane. But regardless of your feelings about religion, this incredibly acted ensemble film will take you to this place and leave you with complete acceptance of the choices and actions this close community of men take in the face of danger from a terrorist insurgence in their village. It's a peaceful, patient film and it's in French. See it. It should have won the foreign language Oscar, or at least have been nominated!

Have a safe and peaceful weekend all.

Teenage Filmmakers, Latino Film and Monopoly? You Bet!

2011-03-04T12:03:00.000-08:00

I'm happy to say that I have three LOCAL film-related stories in today's Union-Tribune. San Diego may be just a short drive away from Los Angeles (well, short in theory), but there are people--very sane ones, in opinion--who are making careers for themselves right here. You'll find all my articles of this nature in the Feature Articles section on the left side of this blog.

But to get right to it, here's what you'll find in today's paper:

Photo: San Diego Union-Tribune

"Life Through a Teenage Lens," a profile of the San Diego Media Arts Center's Teen Producers Project, now in its 10th year.

Highlights from the 18th Annual San Diego Latino Film Festival, which runs March 10-20 at UltraStar Cinemas in Mission Valley (and is produced by the SD Media Arts Center). More at sdlatinofilm.com

Review of "Under the Boardwalk: The Monopoly Story," a documentary produced by San Diego filmmakers Kevin Tostado and Craig Bentley, which opens today (March 4) at UltraStar Cinemas in Mission Valley.

Now get out there and support our local filmmakers - and have a happy weekend!

Scoresheet: 17 out of 24 (and pretty damn bored)

2011-02-27T20:40:00.000-08:00

AFter getting of to a rocky start, I ended up doing better than I ever have before -- 17 out of 24 (70.8%). Does that mean I have to make an effort again next year?

The show was awfully boring, even with Franco as a bonus. But Anne's dresses were divine (except that last one) and, well, if I didn't have my Facebook friends to snark with (and my mom in real life), I would be even grumpier. But at least it's over!

Best Picture
Winner: "The King's Speech"
My pick: "The King's Speech"

Best Director
Winner: Tom Hooper, "The King's Speech"
My pick: David Fincher, "The Social Network"

Best Actor
Winner: Colin Firth, "The King's Speech"
My pick: Colin Firth, "The King's Speech"

Best Actress
Winner: Natalie Portman, "Black Swan" My pick: Natalie Portman, "The Black Swan"

Best Supporting Actor
Winner: Christian Bale, "The Fighter"
My pick: Christian Bale, "The Fighter"

Best Supporting Actress
Winner:Melissa Leo, "The Fighter"
My pick: Hailee Steinfeld, "True Grit"

Best Adapted Screenplay
Winner: "The Social Network," Aaron Sorkin
My pick: "The Social Network," Aaron Sorkin

Best Original Screenplay
Winner: "The King's Speech," David Seidler
My pick: "The King's Speech," David Seidler

Best Animated Feature Film
Winner: "Toy Story 3"
My pick: "Toy Story 3"

Best Foreign Film
Winner: Nominees: "In a Better World" (Denmark)
My pick: "In a Better World" (Denmark)

Best Art Direction
Winner: "Alice in Wonderland"
My pick: "Inception"

Best Costume Design
Winner: "Alice in Wonderland," Colleen Atwood
My pick: "Alice in Wonderland," Colleen Atwood

Best Documentary
Winner: "Inside Job"
My pick: "Exit Through the Gift Shop"

Best Film Editing
Winner: "The Social Network"
My Pick: "The Social Network"

Best Cinematography:
Winner: "Inception"
My pick: Roger Deakins, "True Grit"

Best Makeup
Winner: "The Wolfman"
My pick: "The Wolfman"

Best Sound Editing
Winner: "Inception"
My pick: "Inception"

Best Sound Mixing
Winner: "Inception"
My Pick: "Inception"

Best Visual Effects
Winner: "Inception"
My pick: "Inception"

Best Documentary (Short Subject)
Winner: "Strangers No More"
My pick: "Strangers No More"

Best Original Score - somehow this got left off my list of picks (along with Original song). But I swear I got it right BEFORE they announced it.
Winner: "The Social Network"
Meant to pick: "The Social Network"

Original Song - Oops (see above)
Winner: "We Belong Together," Toy Story 3
My pick (BEFORE the announcement): "If I Rise," 127 Hours

Best Visual Short Film (Animated)
Winner: "The Lost Thing"
My pick: "Madascar, carnet de voyage (Madascar, a Journey Diary)"

Best Short Film (Live Action)
Winner: "God of Love"
My pick: "God of Love"

My Oscar Ballot: I can't believe I voted on the whole thing

2011-02-27T10:23:00.000-08:00

After much procrastination, here's my complete list of Oscar predictions. I've already elaborated on my "no-brainer," "educated guess" and "head-scratcher" reasoning in the major categories here and, if I can muster up any rationalizations for the remainder, I've included them below. Even though I regret it practically every year, I couldn't help but throw in a few votes that are more wishful thinking than the cold and likely truth. But, when it comes down to it, your heart is more valuable than your accuracy (at least when it comes to Oscar ballots).

Best Picture
Nominees: "Black Swan," "The Fighter," "Inception," "The Kids Are All Right," "The King's Speech," "127 Hours," "The Social Network," "Toy Story 3," "True Grit," "Winter's Bone"
No-brainer: "The King's Speech"

Best Director
Nominees: Darren Aronofsky, "Black Swan;" Davis O. Russell, "The Fighter;" Tom Hooper, "The King's Speech;" David Fincher, "The Social Network;" Joel and Ethan Coen, "True Grit"
Head-scratcher: David Fincher, "The Social Network"

Best Actor
Nominees: Javier Bardem, "Biutiful;" Jeff Bridges, "True Grit;" Jesse Eisenberg, "The Social Network;" Colin Firth, "The King's Speech;" James Franco, "127 Hours"
No-brainer: Colin Firth, "The King's Speech"

Best Actress
Nominees: Annette Bening, "The Kids Are All Right;" Nicole Kidman, "Rabbit Hole;" Jennifer Lawrence, "Winter's Bone;" Natalie Portman, "Black Swan;" Michelle Williams, "Blue Valentine"
Educated Guess: Natalie Portman, "The Black Swan"

Best Supporting Actor
Nominees: Christian Bale, "The Fighter;" John Hawkes, "Winter's Bone;" Jeremy Renner, "The Town;" Mark Ruffalo, "The Kids Are All Right;" Geoffrey Rush, "The King's Speech"
Educated Guess: Christian Bale, "The Fighter"

Best Supporting Actress
Nominees: Amy Adams, "The Fighter;" Helena Bonham Carter, "The King's Speech;" Melissa Leo, "The Fighter;" Hailee Steinfeld, "True Grit;" Jacki Weaver, "Animal Kingdom"
Head-scratcher: Hailee Steinfeld, "True Grit"

Best Adapted Screenplay
Nominees: "127 Hours," "The Social Network," 'Toy Story 3," "True Grit," "Winter's Bone"
No-brainer: "The Social Network," Aaron Sorkin

Best Original Screenplay
Nominees: "Another Year," "The Fighter," "Inception," "The Kids Are All Right," "The King's Speech"
Educated guess: "The King's Speech," David Seidler

Best Animated Feature Film
Nominees: "How to Train Your Dragon," "Illusionist," "Toy Story 3"
No-brainer: "Toy Story 3"

Best Foreign Film
Nominees: "Biutiful" (Mexico), "Dogtooth" (Greece), "In a Better World" (Denmark), "Incendies" (Canada), "Outside the Law" (Algeria)
Head-scratcher: "In a Better World" (Denmark)
It's hard to take a category seriously that doesn't include "I Am Love" (Italy), "Carlos" (France) or "Of Gods and Men" (France), so I don't feel all that terrible that I've only seen two of the five nominees --"Dogtooth" and "Biutiful," the former an occasionally riveting but mostly disappointing excuse to get pervy on screen, and the latter an indulgent mopefest (with a good actor suffering through). So I'm going with the Danes--and most Oscar prognosticators--with my pick here.

Best Art Direction
Nominees: "Alice in Wonderland," "Harry Potter and the Deathly Hallows Part 1," "Inception," "The King's Speech," "True Grit"
Head-scratcher: "Inception"
If voters got lazy and just started checking "The King's Speech" for everything, I'm screwed in this category--if not many others. "Alice" could be a winner here as well but I'm hoping voters will recognize "Inception" for its visual appeal, which I found dazzling- and unexpectedly architectural.

Best Costume Design
Nominees: "Alice in Wonderland," "I Am Love," The King's Speech," "The Tempest," "True Grit"
Educated Guess: "Alice in Wonderland"
Colleen Atwood's designs rescued Tim Burton's film from total madcap drudgery.

Best Documentary
Nominees: "Exit Through the Gift Shop," "Gasland," "Inside Job," "Restrepo," "Waste Land"
Educated Guess: "Exit Through the Gift Shop"
Because I really want to see what happens when Banksy's name is called (plus the film is fantastic and, I believe, true).

Best Film Editing
Nominees: "Black Swan," "The Fighter," "The King's Speech," "127 Hours," "The Social Network"
Head-scratcher: "The Social Network"
A pretty impressive category indeed, but I'm guessing voters will want to bump up "Social Network's" Oscar count, and this category is as justifiable as any.

Best Cinematography:
Nominees: "Black Swan," "Inception," "The King's Speech," "The Social Network," "True Grit"
Educated Guess: Roger Deakins, "True Grit"
After nine nominations, Deakins deserves an Oscar already. And the film is simply gorgeous.

Best Makeup
Nominees: "Barney's Version," "The Way Back," "The Wolfman"
Educated Guess: "The Wolfman"
Most boring list of nominees ever and I hate that I even have to think about this crappy movie again, let alone pick it as a winner for something.

Best Sound Editing
Nominees: "Inception," "Toy Story 3," "TRON: Legacy," "True Grit," "Unstoppable"
Educated Guess: "Inception"
I suspect voters will dump a lot of these technical awards on "Inception" and leave it out of most everything else. Appropriate, I think (except for leaving Nolan out of the director category). But it would be really fun if "Unstoppable" took home the statue.

Best Sound Mixing
Nominees: "Inception," "The King's Speech," "Salt," "The Social Network," "True Grit"
Educated Guess: "Inception"
Ditto above, with "Salt" as the most entertaining spoiler.

Best Visual Effects
Nominees: "Alice in Wonderland," "Harry Potter and the Deathly Hallows Part 1," "Hereafter," "Inception," "Iron Man 2"
No-brainer: "Inception"
I just refuse to believe that they'll snub Nolan here, especially with competition like "Hereafter" for God's sake.

Best Documentary (Short Subject)
Nominees: "Killing in the Name," "Poster Girl," "Strangers No More," "Sun Comes Up," "The Warriors of Qiugang"
Head-scratcher: "Strangers No More"
Since I've seen nothing in this category, I'm going with the one that sounds most uplifting, in this case Karen Goodman and Kirk Simon's film about an Israeli school for refugee children from around the world.

Best Visual Short Film (Animated)
Nominees: "Day & Night," "The Gruffalo," "Let's Pollute," "The Lost Thing," "Madascar, carnet de voyage (Madascar, a Journey Diary)"
Head-scratcher: "Madascar, carnet de voyage (Madagascar, a Journey Diary)"
Wouldn't it be nice if the Academy took a pass on Pixar this year (for "Day & Night," which I did enjoy) and gave some gold to an artist, Bastien Dubois, who transfixed us with his animated travel scrapbook? I think so.

Best Short Film (Live Action)
Nominees: "The Confession," "The Crush," "God of Love," "Na Wewe," "Wish 143"
No-brainer: "God of Love"
Probably my most cynical pick sine I really disliked writer/director/star Luke Matheny's goofy Woody Allen rip-off. But the competition is weak and Matheny has been quite savvy promoting himself around Hollywood.

There you have it. And please keep in mind I take no responsibility for how my selections harm or help your attempt to win the Oscar pool.

Enjoy the show!

Oh, Oscar.....

2011-02-25T20:01:00.000-08:00

Could it possibly be almost over? --oops.. I mean, almost here? I'm talking about the Oscars of course and, well, I've been sick of them since early November. Not that I haven't enjoyed the stacks of screeners that appeared in Fed Ex packages on my doorstep every afternoon or the....well, that's pretty much all I've enjoyed.

But as someone that actually gets paid to write about movies (a rarity these days), I mustered up some enthusiasm and spouted and speculated along with the rest of 'em, as you'll see in my expanded "No Brainer," "Educated Guess," and "Head-Scratcher" picks from today's paper. (Here's hoping I get my predictions for all of the categories posted before the ceremony starts on Sunday evening!)

It wasn't always this way. In fact, I was obsessed with everything Hollywood all the way into my mid 20s when I actually lived there and became a part of it--albeit a miniscule part that had me making reservations for power lunches instead of actually attending them.

The thrill of celebrity lasted for a year or two but, when I got a job as a junior publicist, I finally discovered that the emperor had no clothes. In my mind, those glossy magazines with movie stars on the cover became nothing but negotiations. All those awards shows were just pageants designed to sell movie tickets and toothpaste during commercials. And everyone was in on it. The magic was gone.

In the dozen or so years since this disillusionment, I've been able to find a middle ground. A place where I can love film, follow industry trends and manage to keep my dignity. But I still have a problem with the whole concept of picking one film as a "winner" over another. How can something as subjective as art "beat" another piece of art in a contest, let alone one with as many arbitrary rules, restrictions and barriers to entry as the Academy Awards? And yes, film is art (or it should aspire to be at least).

As a critic I find the whole thing ridiculous.

As a woman with a borderline disturbing celebrity crush on James Franco, Sunday night is gonna be awesome.

An Appetizer of Oscar Picks

2011-02-24T12:16:00.000-08:00

While the bulk of my "big category" Oscar picks will appear in tomorrow's Union-Tribune, AOL City's Best asked me -- along with San Diego City Beat Film Editor Anders Wright and KPBS Film Critic Beth Accomando--for my opinion on Best Picture, Actor, Actress and Original Screenplay winners.

The three of us are nothing if not entirely consistent in our opinions. Could this mean I might actually have a good showing on my Oscar ballot? Well, I couldn't do any worse than last year! (Thankfully those predictions are lost in the ether, but let's just say I was all about "Avatar.")

Here's the City's Best story by Jennifer Kester.

I'll post my expanded U-T picks tomorrow and, hopefully, a comprehensive list of my predictions (guesses?) in all categories before the Sunday ceremonies. Go Franco!

Review: Unknown (2 1/2 stars); Cedar Rapids (3 stars)

2011-02-18T09:50:00.000-08:00

Maybe it's the February doldrums at the cineplex, or maybe I just have a soft spot for Liam Neeson, but I found "Unknown" to be entirely satisfactory. Believe me, that exceeded my expectations. If you've seen all the Best Picture nominations and are sick of staying home to watch Netflix streaming (you don't still have cable do you?), then it could be worth checking out for some popcorn-munching fun. At the very least, you'll finally know whether or not January Jones can act in a role besides that of spoiled brat Betty Draper. Or you can just find out by reading my full review.

I also caught "Cedar Rapids" last night, a film starring Ed Helms ("The Hangover," NBC's "The Office") as a naive, small-town insurance agent on his first trip to the "big city" for a convention. The film received mixed reviews at Sundance this year and, for the first half of the film, I could see why. Helms is adorably pathetic in a way that makes you shake your head and smile (if in a condescending, "big city" way), but the well-worn stereotype doesn't exactly make you laugh out loud.

But the movie's sweet-with-a-coating-of-vulgarity sensibility starts to gel by the time Helms settles in to Cedar Rapids and gets a rhythm going with his fellow conventioneers, played by an outrageous sad-sacky John C. Reilly (always good), a straight arrow Isiah Whitlock Jr. (known primarily for his "sheeeeeettt"-spewing corrupt state senator from HBO's "The Wire," a source for several jokes in the film), and an unexpected, red-headed Anne Heche in a role that hopefully means a comeback. As the group romps around the hotel on scavenger hunts, late-night swims in the indoor pool, and trips to the hotel bar, Helm's shiny-happy view of the world gets stripped away and takes him to some dark places. Sad for him, but mostly enjoyable for us. And his crisis creates a bond between his new-found friends that makes for some aww-shucks sweetness, if not some genuine ruminations on the nature of true friendship.

As my friend said upon exiting the theater last night, that movie was NTS--Not Too Shabby. Yes, she stole that from the movie, but it's all too appropriate.

Review: The Green Hornet (1/2 star)

2011-01-14T09:51:00.000-08:00

Jay Chou (left) as Kato, sidekick to
Seth Rogen's "The Green Hornet"

Well now I just feel like a big meanie. I stand by every word in my harsh review "The Green Hornet" but, after reading the "reviews" by the sweet middle school girls on the U-T's movie panel, I am reminded how long-dead that kid inside me is. The kid who just showed up at the cineplex and darn well liked whatever movie gave me the chance to hang out with my friends for a few hours and eat candy without any parental disturbance. Of course, movies didn't cost two weeks' allowance back then -- and walking up that hill barefoot in the snow was also kind of a drag.

For any discerning grownups out there, go see Mike Leigh's "Another Year," which opens in San Diego this weekend. Or just rent "Kick Ass" if you're in the mood to let off a little pubescent steam without feeling entirely insulted.

Reviews: "Somewhere" and "Blue Valentine"

2011-01-07T10:19:00.000-08:00

Talk about opposite ends of the opinion spectrum. This week I reviewed Derek Cianfrance's "Blue Valentine" (3 1/2 stars), an intense look at the disintegration of a marriage, and "Somewhere" (1 star), Sofia Coppola's blank stare at a privileged movie star (Stephen Dorff) hanging out in the same room as his perfectly pleasant daughter (Elle Fanning).

I relished "Blue Valentine," though wasn't surprised in the least to see that the Union-Tribune's two "citizen critics" (regular folks who share their opinions alongside mine) absolutely hated it. The relationship between Michelle Williams and Ryan Gosling's characters isn't easy to watch, and you don't entirely like how they behave either. But real relationships aren't always as lovable as a Jennifer Aniston rom-com and I can see how a feature length sit-down with the truth about love's failings could inspire a strong negative reaction for some people. As for me, I thrive on films that are able to portray some truths about the human experience--even if you don't exactly like what you see.

Unfortunately for me, I had to sit through "Somewhere" twice-- first when I got the screener in November to see if it was worthy of Best of 2010 consideration (wrote off that idea in the first 10 minutes), and again this month when I decided to review it. Now I think I deserve some sort of hazard pay, but at least Elle Fanning (Dakota's little sister) is a pleasure to watch-- even if she's reduced to a wisp of character.

This weekend, I'm hitting the Gaslamp theater to revel in the craziness of Dogtooth. Hope to see you all there!

Obligatory Top 10 List -- and more from 2010

2010-12-30T21:52:00.000-08:00

"What's your favorite movie?" is probably my least favorite movie-related question. What I love about film is its potential for variety. Does it sound reasonable to judge "Clockwork Orange" against "Mary Poppins?" I think not, which is why I like to name these two fine films as my favorites if I'm pushed to provide an answer. Just imagining Alex and his droogs in the same room as the sublime Ms. Poppins is enough to make my point.

So when it comes time to offer up my Top 10 Films of 2010 list, I'm immediately resistant. Especially after seeing so many other lists that pretty much echo each other. Alas, I give in to peer pressure and give you the ten films that made the strongest impression on me this year. Plus some movies that defied my expectations (both good and bad) and another batch that just plain pissed me off. Here you go -- and Happy New Year!

* Links go to my original Union-Tribune reviews. No link means I didn’t review it.

Top 10 Films of 2010 (in no particular order, other than alphabetically)

127 Hours 

Yes, I have a soft spot for all things Franco, but his performance as trapped hiker Aron Ralston is truly remarkable. Put that together with Danny Boyle’s energetic and imaginative direction and you get a film that elevates a People Magazine cover story to an exciting bit of filmmaking.

Black Swan

Despite its tendency towards high-gloss camp, director Darren Aronofsky’s visual stylings and Natalie Portman’s notable performance puts this graceful fever dream of a film in my Top 10.

Blue Valentine 

Director Derek Cianfrance takes a sideways look at love by weaving a couple’s painful disintegration together with their first falling in love. It’s a sad but beautiful contrast that owes much to Michelle Williams’ terrific performance opposite a fine Ryan Gosling, who’s ill-fitting accent is the only thing keeping me from heaping praise on him as well.

Carlos 

The sheer scope of this 5 ½-hour epic about infamous terrorist Carlos “The Jackal” qualifies it for my Top 10 list. But director Olivier Assayas’ ability to juggle so many subplots, languages, characters, and facts, along with Edgar Ramirez’s remarkable performance as the multi-lingual title character, make “Carlos” a must-see movie marathon.

Exit Through the Gift Shop

We saw a lot of films this year that addressed the line between truth and fiction (“I’m Still Here,” “Catfish,” even “The Social Network”), but this “documentary” by renowned street artist Banksy did it best with an entertaining and thought-provoking film that still has us guessing.

I Am Love 

A luscious painting of a film starring Tilda Swinton as the Russian-born, porcelain-skinned subject trapped and isolated in a lavish Italian life. A breathtaking experience, and the British Swinton once again amazes – this time by delivering her lines effortlessly in Russian-accented Italian.

Never Let Me Go 

Mark Romanek’s haunting yet restrained film, based on the novel by Kazuo Ishiguro, is a quietly creepy tale of a dystopian future. With Rachel Portman’s unique score setting the tone, actors Carey Mulligan, Andrew Garfield and Keira Knightley expertly guide us through this somber story.

The Social Network 

Though it may take some liberties with the truth, director David Fincher’s film about the controversial founding of Facebook captures the geek-driven, wild west landscape that led to the world dumping their personal lives online –at the command of the socially inept Mark Zuckerberg. Definitely worth two viewings: one to soak up Aaron Sorkin’s snappy script, and the next to appreciate Fincher’s tight storytelling.

Toy Story 3

It took 15 years for Pixar to reach the final chapter for Woody, Buzz and the gang, and this funny, nostalgic and even scary sendoff is just about perfect. I still come to tears just thinking about it.

Winter’s Bone 

Writer/director Debra Granik takes us into the remote Ozark Mountains where chronic poverty and rampant drug use have led to both lawlessness and hopelessness. As the brave teenager who ventures inside this dangerous world to save her family’s home, young Jennifer Lawrence delivers a career-making performance.

Honorable Mentions

A Film Unfinished  

An important lesson about historical interpretation, this documentary shows how the Nazis staged filmed scenes of Jews in the Warsaw Ghetto in a bold (and mostly successful) attempt to hide their atrocities. A history lesson for everyone.

The Kids Are All Right 

Terrific performances by all involved, and a wonderfully fresh take on ‘family’ in the modern era.

Nowhere Boy  

No surprise that 40-something director Sam Taylor-Wood ended up married to her 19 year-old star Aaron Johnson, who’s charming portrayal of a young John Lennon will steal your heart as well. Terrific performances also by Anne-Marie Duff and Kristin Scott Thomas.

The Tillman Story  

An eye-opening and heartbreaking documentary that follows the family of former NFL star Pat Tillman on their unflinching quest to find out the truth behind his wartime death.

Unfortunate Omissions

There are only so many hours in a year and, sadly, I missed seeing these two films before time ran out. From what I've read and heard, I suspect they would've made my list.

Another Year – Director Mike Leigh’s latest ensemble film

Inside Job – Charles Ferguson’s documentary about the shenanigans behind the Wall Street collapse.

Biggest Surprises (Good and Bad) 

The Crazies  

Horror kitsch and gratuitous gore interest me very little, so I assumed this zombie-style film would be total schlock. So imagine my surprise when I found myself covering my eyes, leaning forward in suspense, and having a hell of a good time – and I went to the screening by myself. That’s saying something.

Jonah Hill in Cyrus  

I expected to like this predominantly improvised film, despite the fact that it starred one of my least favorite actors, Jonah Hill. Well, the presence of his talented costars John C. Reilly and Marisa Tomei must’ve had him on his best behavior – and he comes out the better for it. He is off my shit list….for now.

Inception  

I admit it. I was carried away by the idea of Inception and the excitement around it. Upon first viewing, the film was a mind-tripping visual spectacle and worth the watch. But what surprised me was how quickly it faded from memory – kind of like a dream that feels vividly real upon waking, but is gone by breakfast.

Kick-Ass  

Comic book movies are not my thing (hence my disinterest in Comicon). But Chloe Moretz as Hit Girl won me over. A blast of a movie -- controversy over its ultra violence and little-girl bad language be damned.

The Millenium Triology on Film (and in Swedish)

Not having read the Stieg Larsson books, the first film from the series, The Girl with the Dragon Tattoo, blew me away (particularly Noomi Rapace’s performance as Lisbeth, which damn well better earn her an Oscar nomination). But the two films that followed, The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest, were an exercise in disappointment.

Salt

I’m not someone who favors Angelina Jolie (I’m putting it very politely here) and action movies fall very far down on my list of preferred genres. Despite these substantial strikes against it, I was thrilled by Jolie’s stunts and happy to a happen upon an example of a Hollywood action-thriller done right.

Unstoppable  

When I first saw the preview, I laughed in the most derisive way possible. Instead of proving me right, this runaway train tale got my adrenaline pumping and had me thoroughly entertained.

Money Better Spent on Rebuilding Haiti

Last and least, here’s a quick list of movies that felt like a waste of my time and, more importantly, a lot of money that could have been put to much better use elsewhere in the world. If you must know more, read my linked reviews and spare yourself actually having to see the films for yourself.

Review: Carlos (4 out of 4 stars)

2010-12-29T01:15:00.000-08:00

Just got home from seeing the 5 1/2 hour "Carlos" at the Gaslamp Theater. Besides taking up the better part of a mostly sunny vacation day, it was entirely worthwhile-- especially as I put the finishing touches on my Best of 2010 list.

The film follows the exploits of the infamous terrorist Carlos "The Jackal" throughout the 70s, 80s and early 90s, and reveals him to be a charismatic sociopath with a hint of James Bond -- if 007 fought exclusively for the bad guys.

Of course, Carlos sees himself as a loyal solider in the communist revolution and his ruthlessness earned him a lot of business --and protection--from like-minded regimes. But nothing lasts forever. While we're reveling in Carlos' militant globetrotting, we're also witnessing the evolution of late 20th century geopolitics--or at least its ugly underbelly.

Besides telling an immensely complex and compelling story, director and co-writer Olivier Assayas deserves recognition for the sheer scope of the project, shot in nine countries on three continents and featuring 11 languages. And, of course, the hyper-realistic hostage takings and down-and-dirty bombings, some of which reminded me of the bumbling terrorists in the comedy "Four Lions," playing just across the hall.

As Carlos, Venezuelan actor Edgar Ramirez is simply incredible, turning a shadowy public figure into someone frighteningly real. The role must have been physically grueling as well, taking the actor from a svelte young soldier, aglow with high ideals, to a bloated relic of the Cold War, hiding out in the few remaining countries that'll still have him. Oh, and Ramirez delivers his lines with equal strength in English, Spanish, Arabic, German, and who knows what else I'm forgetting. Amazing.

But the character's most compelling transformation happens gradually, as Carlos' extreme political ideals begin to twist and contort over the years, eventually becoming little more than bizarre justifications for cold-blooded murder.

It's understandable that you might be turned off by the film's running time. In fact, it was originally produced for television, so watching it at home over the course of a few nights could be a more convenient option for you. But seeing "Carlos" on the big screen, joined by a smattering of equally brave comrades-in-film, gives this monumental cinematic effort the respect it deserves.

And now to throw in a little playful disrespect, allow me to offer up a potential drinking game to pair with a home viewing of "Carlos." A terrorist leads a busy life. Changing passports, airplanes and cars like most of us change our underwear. Assayas captures this constant stream of motion in almost obsessive detail, particularly when it comes to cars. Getting in. Getting out. Pulling Up. Driving Away. It's effective and, likely, accurate. But, if you're like me, it might become tiresome by the fourth hour.

This is where the drinking game comes in. One sip for every car door slam. Two sips for every curbside pull-up, driveway arrival or departure. A chug for every rental car driven away. A shot for every car that peels away from the curb. You get the picture. Enjoy. (But don't drink and drive.)

True Grit; Closing out the Year

2010-12-24T12:15:00.000-08:00

This week's review of "True Grit" (3 stars) brings my critical year to a close. Hard to believe I only started with the Union-Tribune in January! Since then, I've managed to cram in 72 reviews and five feature stories (the final one, about the San Diego Christian Film Festival, is in today's paper). I also appeared in four pre-Oscar TV spots for Channel 10, where I did a spectacularly poor job of predicting the winners, but not too shabby on the teleprompter if you ask me! (This was during the bizarre period of time before the paper hired its new editor-in-chief. I don't think we'll be repeating this strange exercise for 2011, though who knows?)

I also became a member of the San Diego Film Critics Society this year, which meant I took part in my first DVD screener deluge (awesome!) and gave my two cents during our recent voting session, which yielded some interesting results for Best of 2010.

I also found my rhythm as a freelance writer with a full time day job. I don't get to review nearly as many films as I'd like and, now that I have a handle on what I can do without losing my mind, I'm hoping to cover more independent films in my 2011. Hollywood has done little to earn the amount of attention it gets (from me and everyone else) and, although I will still review the mainstream movies when appropriate, I will make the necessary adjustments to my schedule so that I can cover films that may be more deserving of your attention--even if they don't have the marketing budget to buy it.

I've also got my eyes and ears open for potential stories about local film festivals, filmmakers and events so drop me a line if you have a suggestion. Looks like the San Diego Black Film Festival and San Diego Jewish Film Festival are first up in the queue and I'm eager to see what they have to offer.

So those are my New Year's resolutions-- when it comes to movies anyway. What are yours?

I'm hoping to get a Top 10 list posted before we say so long to what has been a pretty crappy year (for film and for the world). Here's hoping we've got nowhere to go but up in 2011.

Reviews: "The King's Speech" & "Tron: Legacy"

2010-12-17T12:00:00.000-08:00

This week I reviewed "The King's Speech" and "Tron: Legacy," two films that have one thing in common--neither took top honors in the San Diego Film Critics Society's (SDFCS) 2010 awards, (though "King's Speech" was nominated for several). This was my first year as an SDFCS member and, despite some of the grumbling you'd expect from a roomful of opinionated critics, it was exciting to be a part of a group so willing to consider films outside the normal Hollywood Oscar bait (like "Winter's Bone," "Another Year," "44 Inch Chest" and "Ondine"). Let's just hope that someone out there in Academy-land hears our cries. Doubtful I know, but we did our part.

Colin Firth as King George VI and Helena Bonham Carter as the Queen Mother

in "The King's Speech" (Laurie Sparham/ The Weinstein Company)

Not that I disliked "The King's Speech," as you'll see in my review. It was just, well, expected. Enjoyable, yes, but not anything that had me walking out of the theater feeling electrified by brilliant filmmaking. As my mother described it, "It was a really, really good television movie." Still, wonderful performances, a compelling true story, and a good dose of royal gossip.

Jeff Bridges is shown in "Tron: Legacy" (AP Photo/Disney)

Then there's "Tron: Legacy," which was certainly discussed during SDFCS's voting, but only because the press screening took place the night before and people needed to vent about the film's assault on everything that is holy in sci-fi movie geekdom. I kept my mouth shut because, well, I didn't entirely hate it.

Granted, I had the lowest of expectations, especially after seeing the original "Tron" only a few days earlier (and falling asleep halfway through after spending the first half mocking its ridiculous story, costumes, dialogue and acting). So when I found myself generally wowed by the effects of its sequel, I went along for the ride and took it for what it was.

Yes, even the recreation of a young Jeff Bridges impressed me, though many are describing it as a "Madame Tussaud's-like death mask." I've still never seen anything like it and am excited to see how much better it'll get down the road. I mean, "Tron" looked cheezy as hell, but it still helped redirect our cinematic imagination.

Still, it would have been nice if the filmmakers had actually tried to improve upon the story--or even, gasp, reinvent it. Instead, they took the easy way out by trying to lure the Gen X audience with nostalgia, while attempting to appeal to a new generation of numbskull kids with visual spectacle and a hell of a lot of marketing. And, as we know, trying to appeal to everyone rarely gets you somewhere good (hear that Obama?).

Oh, and I got so distracted by placing "Tron: Legacy" in the context of its predecessor, that I stupidly neglected to include the following observations in my review. Michael Sheen, an actor I really admire, delivers a Tim Curry/Rock Horror-esque performance that is simply painful to watch. Perhaps he was directed to inject as much energy and silliness as he could muster to give an overly dreary film at least some sort of energy, but he just comes off as desperate and pandering.

On the other hand, Jeff Bridges (the 62-year old version) does give us a few giggles every time he channels the beloved Dude (because, well, The Dude abides). But each Dude-ish moment just pulls you out of the world that "Legacy" tries so hard to create. Let's just have the Coen brothers do a Lebowski remake instead, shall we?

Next Friday I review "True Grit" and profile the first ever San Diego Christian Film Festival (what else would a nice Jewish girl be working on during the Christmas season?)

Speaking of, Happy Holidays!

Review: 127 Hours

2010-11-19T09:28:00.000-08:00

No, I didn't review the new Harry Potter movie -- by choice, thank you very much. I figure it will get plenty of coverage by more qualified people who have actually read the books and seen the previous films. I mean really, is anyone going to go see it if they haven't?

Instead, I opted for the man who needs no first name (at least in my book), Franco in "127 Hours." Though my (edited for space) review is in the print edition of the Union-Tribune today (11/19), it has yet to be posted online (this happens every week, much to my disappointment). So while I wait for them to put it up, I thought I'd share it here, complete with the final paragraph, which urges you to get over the fainting stories and just go see the damn thing. Here you go...

"127 Hours"
Rated: R
Running Time: 1 hour, 33 minutes
3 ½ stars

When outdoor adventurer Aron Ralston emerged from a Utah canyon with one arm and an inspiring --though gruesome--story of survival, many of us took a moment to consider how we would’ve responded in the same situation. Could I cut off my own arm if it meant saving my life? Just how strong is my will to live?

Here’s what most of us didn’t think: Wow, that would make a terrific movie.

And that’s why most of us aren’t Danny Boyle, the British filmmaker known for taking chances and making movies that at first might seem unpalatable: the highs and lows of the junkie lifestyle (“Trainspotting”), a country overtaken by infected “zombies” (“28 Days Later”), and the injustice of India’s slums in the Oscar-winning crowd pleaser, “Slumdog Millionaire.” With his latest release, "127 Hours," Boyle takes us deep inside a remote sliver of canyon, where Ralston (James Franco) is trapped, his forearm pinned beneath a massive boulder—and no one coming to the rescue.

Before the fall that made him famous, Ralston is introduced in a mad rush to escape. What exactly is he escaping? Normal life. The daily commute. The rate race. All shown to us in split screen as Ralston tears through his apartment, ignoring phone calls from his family and hastily packing for his weekly solo adventure into the wild.

But once he gets there, he’s hardly the picture of serenity. In fact, he’s whipped into his own frenzy of stubborn individuality, risk-taking and, as he demonstrates when he crosses paths with a pair of female hikers (Kate Mara, Amber Tamblyn), exhilarating cockiness – all of which slams to a halt with one unfortunately placed rock.

Ralston may be pinned in one spot, but Boyle’s camera is anything but, taking us to every place a frantic mind could wander while under such strain: sloshing inside a water bottle as its contents recede, through the lens of the camera Ralston uses to record his desperate thoughts, inside abstract patches of Ralston’s memory-- even under the skin of the doomed arm as his blunt knife cuts its way through.

But Franco is the vehicle that makes "127 Hours" more than just an exercise in claustrophobic endurance. As he’s proven with his oddly ambitious forays into everything from advanced Ivy League degrees to an experimental stint on a soap opera, Franco shows an unbridled willingness to play along and break new ground. And the fact that he
makes this Oscar-worthy performance look so easy, has you wondering what this modern Renaissance man can’t do.

And now the inevitable topic -- the self-amputation, which has led to a few reported cases of audience members fainting. Yes, it is a painful scene to watch, thanks to Franco’s courageous performance and Boyle’s superb assemblage of images and sound (I still can’t shake the nails-on-a-chalkboard chord that struck as Ralston sliced through the arm’s primary nerve).

But the scene is more than just a headline-grabbing gimmick. By the time Ralston arrives at this decision, he’s faced the personal failures that led him to this isolated place. They aren’t grand mistakes, just the small slights we all are guilty of, yet rarely get the chance to meditate upon—let alone rectify.

But Ralston does get the chance, and by the time we get to the cutting, it feels less like a horrific choice than one more stubborn obstacle to overcome before he can begin life anew. If it were possible, I would’ve ripped the appendage off for him myself.

Irving Thalberg and Me

2010-11-16T15:55:00.000-08:00

I was reading about Dino DeLaurentis' funeral in the Hollywood Reporter and remembered why I first fell in love with movies. The 91-year-old Italian film producer had worked with just about every big name in film from the 1940s until just a few years ago: Federico Fellini, Arnold Schwarzenegger, David Lynch, Jeff Berg, Steven Spielberg, Baz Luhrman -- most in attendance at his LA funeral. When was the last time you got a crowd like that into one room?

To be honest, it wasn't the movies themselves that first grabbed my imagination. It was their time capsule nature that I loved. Every weekend, while watching Tom Hatten's Family Film Festival on channel 5, I felt like I was getting a glimpse of American history on my television screen.

It started as a fascination with what people "back then" dressed like, how they spoke, what music they listened to. Even a futuristic science fiction movie would show its hand with bell-bottomed spacesuits or clunky references to contemporary social issues like race relations or women's rights.

Don't get me wrong, I often loved the movies too. But the films that made it onto syndicated afternoon television weren't exactly all "Casablanca" - and I knew it. So I mined what I could out of Mr. Hatten's picks (including a soft spot for Doris Day/Rock Hudson/Tony Randall comedies), and the more context he gave --about the cast, the box office performance, whatever-- the more I enjoyed watching it.

When it came to current releases, I tended to prefer story and character over spectacle (still do) and, with big budget blockbusters in full effect during my formative moviegoing years, I was left with slim pickings. I gravitated towards quirky comedies like "Down and Out in Beverly Hills," "Raising Arizona"and "Ruthless People" -- all on my favorites list as kid. I also remember convincing my best friend to sneak into "About Last Night," an R-rated movie about a topic I wouldn't understand for another 15 years, instead of going to see "Back to the Future" because it promised to be just a "stupid science fiction movie for boys." (Don't worry, my judgement has improved since then. I think.)

I may have been uninformed of the current movie zeitgeist, but I could tell you all about the studio chiefs during Hollywood's Golden Era. Or at least I hoped to someday, if anyone ever cared to ask. The point is, I loved the old studio system -- warts and all.

In fact, the more I learned about how oppressive the system was, the more I wanted to know. The "bad" side, the ugly side of the business -- in the context of history anyway--is about as juicy as you can get, full of larger-than-life characters that feel like they could only exist in....well, the movies. By the time he was laid to rest, Dino DeLaurentis had become more than just a movie producer, he was a force of personality. (The news today about the horrific murder of longtime Hollywood publicist Ronni Chasen is already bringing forth similar stories.)

By my sophomore year in college, my school announced it would begin offering a film studies major. While my well-meaning mother had convinced to me to choose a liberal arts school over a more technical filmmaking program, it still only took me about five seconds to change my major. To keep with their classically-oriented core curriculum, the administration insisted that the major remain strictly film theory and criticism - no actual "moviemaking."

We were, however, more than welcome to volunteer as a PA for any of the graduate student films being shot, which I did --once-- with a friend/fellow major . While she fell in love with the heavy lifting, working for free, and long periods of waiting around followed by sudden rushes of panic, I was uninspired to say the least. I guess you could say I cared more about the product than the process. This major was perfect for me. (I'm happy to say my friend is now a successful line producer for indie films.)

So in between work study jobs and film-related internships (more posts to come about those), I stayed hunkered down in the school's shabby screening room, soaking up mind bending lectures on film theory from James Schamus, decade-by-decade surveys of American film with Andrew Sarris (a living piece of film history himself), feminist film studies with Molly Haskell. I sincerely enjoyed researching and writing a paper about producer Arthur Freed's contributions to the Hollywood musical. I grew slightly obsessed with the myth of Irving Thalberg and, through that, discovered the industry's underdog Jewish-American roots (I still treasure my copy of Neal Gabler's "An Empire of Their Own: How the Jews Invented Hollywood").

I adored the idea that "the business" was an entirely American invention. And that the image we manufacture of ourselves on film is our chief export to the rest of the world (whether we like it or not). I first grasped this during a middle school trip to Europe when, after talking to locals and flipping through magazines, I was surprised to learn they assumed we all owned guns and listened to rap music -- an image that could only have come from the movies and television shows we produced ourselves. (I suppose these days they think we're all right wing extremists, still with guns of course.)

While I try to give every film my undivided critical attention at the time I review it, what I enjoy more than anything is taking a step back to see where it fits in our own history and self image. That takes some perspective and, having been a working critic for two years (plus 15 years working in and around the media/entertainment industry), I am happy to say I'm gaining some of it. Not that any of this will help improve my Oscar picks this year. But I'll still give it a shot.

Unfair and Off-Kilter

2010-10-11T14:36:00.000-07:00

I've received a fair amount of negative feedback on my review of "Waiting for Superman," the Davis Guggenheim-directed documentary about the struggling U.S. education system. For the most part, I stand accused of being "biased," "politically slanted" and even "an unadulterated liberal bigot." So I thought I'd take a moment to respond.

It's clear that the offense was caused by my opening sentence:

"Whether it’s a Fox News host shouting down a liberal guest or filmmaker Michael Moore shaming a well-dressed capitalist, much of our public discourse today feels like the run-up to a professional wrestling match instead of democracy. But there are some issues — particularly our country’s failing schools — that can’t afford to wait on the sidelines any longer."

My intent here, in case you missed it, was to demonstrate how ineffective our style of public discourse has become, relying mostly on shouting and/or name-calling instead of honest, respectful conversation about some really big problems.

Re-reading it now, I can see that the examples I chose (Fox News, Michael Moore) were too inflammatory - and I wish I could revise it to say that Michael Moore was attempting to shame a well-dressed capitalist (whether he succeeds or not is up to the viewer). But I doubt that would make much difference, because what I took away from this experience is that there will always be some people who stop reading and ramp up to anger the moment they think they've encountered an idea they might disagree with. Unfortunately, this kind of proves my point, doesn't it?

But more important here is the misconception that a movie critic is supposed to be "fair and balanced," something I heard from almost everyone who wrote to complain. Allow me to clarify:

As a critic, it is my job to give you my opinion. Whether it's my personal aversion to shallow female roles or how many fart jokes I think are too many, everything I write is my opinion. And I prefer that you know where I'm coming from upfront; what you choose to do with it from there is entirely up to you.

On the flip side, when I write an article profiling a filmmaker (as I did with Davis Guggenheim), my opinion is no longer relevant. Instead, I focus on delivering an honest portrayal of the person, their work, and what they hope to accomplish with it. To date, no one has complained that my Guggenheim article was "politically slanted" -- nor should they.

Until Netflix finally discovers the algorithm that can generate an entirely objective movie recommendation, we're forced to rely on the subjective opinions of critics, bloggers, or whoever else you think has a worthwhile point of view. If you still believe we're supposed to be "fair and balanced," then I may not be the critic for you. But good luck finding another one without an opinion.

Oh No, Another Holocaust Movie

2010-09-26T16:22:00.000-07:00

www.afilmunfinished.com

I was talking with a friend today about "A Film Unfinished," the new documentary about a Nazi propaganda film shot in the Warsaw ghetto. I reviewed it last week and still can't get it out of my head (perhaps that's why I described it as "haunting"). But not because the footage was so shocking, upsetting or rare (which it is), but because it was able to alter my emotional understanding of the Holocaust after so many years of thinking I had wrapped my head around its awfulness.

There are plenty of films about or related to the Holocaust. So when another one comes out, you can just feel the unspoken (usually) groan of "Oh no, another Holocaust movie." I don't begrudge people that --unless it's coming from the "can't these Jews just get over it?" perspective, which I've heard before and pisses me off to no end.

But whether a film is based in truth or just pure imagination, it all comes down to compelling storytelling. And if you can rationally argue that we've used up every story, every struggle, every shred of the human condition from the Holocaust, then perhaps it's time for us to stop making films entirely.

However, if you're going to take your audience down this well-traveled path of horrors, then you better bring something new -- whether it's facts, style or perspective. Thankfully, "A Film Unfished" does in at least four ways:

it provides the general public access to rare film footage of the Warsaw ghetto, normally available only to researchers;
deepens our understanding of the Nazi propaganda machine through newly discovered outtakes and an in-depth investigation of Nazi records and post-war trial transcripts;
shocks us out of our emotional detachment to black-and-white "history" with striking color footage of life in the ghetto;
and it warns us by showing how a supposedly "civilized" Western society can segregate, degrade and dehumanize a group of people in plain sight.

Sadly, I have no doubt that my new depth of understanding will be applicable to the "history" that lies ahead.

"Catfish" Bait

2010-09-18T09:06:00.000-07:00

I was absolutely enthralled by "Catfish." And I hate myself a little for it.

(I wasn't able to review the film. If you want a summary and "real" review, check out Christy Lemire's here; )

I've heard complaints about it being exploitative or perhaps disingenuous. I definitely felt those moments and came really close to agreeing a few times. But just when I was about to proclaim the film entirely frivolous and in bad taste, that damn Nev Schulman would do something sweet, or say something adorably charming, or just smile that smile and, well, I was back in it like a pre-teen with an embarrassing crush.

See why I hate myself?

I'm 37. That's not really old (if it is, don't tell me). But in the eyes of an early 20s hipster kid, I'm just some irrelevant 40-year-old or, at best, a cougar (a term I loathe). But I am young enough to relate. To remember when life felt like just one clever joke: fresh out of college with some artsy degree, living in New York City with time to waste, and the absolute certainty that what you and your friends do is interesting enough to document on video at all times.

Just thinking of myself at this age makes the hate grow just a little more. Sort of that "If I knew then what I know now...." thing. But if I did actually know then what I know now, would I have done something like what these guys did: produce and sell a buzzworthy documentary that's complex in tone, asks relevant questions of a modern lifestyle, and is more suspenseful and entertaining than most fictional films I've seen this year?

Of course, I was also living below the poverty level when I was wandering the streets of Manhattan--something I'm pretty sure this group of guys, with their expensive camera equipment, NYC office (in addition to apartments, I presume), can't claim for themselves. Hence the fruitlessness of regret.

But I hate myself the most because I walked out of that theater with a dizzy-headed crush on a 24-year-old "reality movie" pretty boy just because he showed admirable courage (especially while his filmmaker brother tried to wimp out), followed by an unfathomable amount of compassion in how he handled the fallout.

Was I entirely duped into believing that Nev actually is all of those wonderful things? After all, a film--any film-- is just a carefully selected and edited set of scenes, usually staged in some way or another. Just because it's called a "documentary," doesn't mean any of the characters' I met were being real. (Uh, "I'm Still Here" anyone?) But it sure is a lot more fun to believe a fantasy than pick apart the lies.

I guess I'm a lot like Nev. After all, he was willing to believe that there really are sweet, sexy, artistic, property-owning, flexible young women living on rural Michigan horse farms, out of reach from any man even close to his league.

Guess we all have reasons to hate ourselves a little. But you should see "Catfish" anyway.

He's Not Here

2010-09-07T23:49:00.000-07:00

I just finished writing up my review of "I'm Still Here," the Joaquin Phoenix "documentary" directed by Casey Affleck. You can find out what I thought of it when it runs on Friday in the U-T, but I just had to take a moment to say one simple thing: I still miss River Phoenix.

If you're anywhere near my age (and a girl who liked her Tiger Beat), then River's untimely death on Halloween 1993 was at least a little upsetting. For me it was more than that. I felt like I'd grown up with the guy--well, at least adjacent to him. And his talents were only touched upon before one bad choice stopped him cold (it frustrates me to no end seeing the Britneys and Lindsays of the world making even more destructive choices over and over again, and surviving to make the cover of yet another US Weekly).

I was in college when he died. Actually on a rare weekend away at a friend's beach house. When I realized I was the only one of my friends significantly upset by the news, I packed my bags, took the LIRR back to my dorm, and sat in my room to wallow.

I still think about him from time to time. When I'm near the Tijuana border crossing, I remember his performance in the 1988 Spy Thriller "Little Nikita," set in San Diego. When I see Leonardo DiCaprio in yet another Scorsese movie, I grow more convinced that River would've been his actor of choice if he were still here (sorry Leo, but you are a mere shadow in comparison).

But tonight, as I watched his younger brother Joaquin disintegrate into a (real or feigned) manic, paranoid mess, I wondered just how much River's death shaped his brother's life. He was with him the night he collapsed in front of the Viper Room and refuses to speak about his brother publicly. But it's impossible for me to consider Joaquin and his state of mind without thinking of River's place in it.

"I'm Still Here"opens with old Phoenix family home movies, including one scene of the Phoenix kids bouncing about, performing some silly musical number. While the circular spotlight picked Joaquin out of the group, I desperately searched for signs of River. And there he was, in the back row, with an oversized guitar strapped to his small frame. It was hard for me to shake the image of that blurry boy and the grief that his brother probably still feels.

Having tragically lost a sibling myself this year, I'm willing to admit that I could be just projecting much of my grief onto the wild-eyed actor. But something tells me there's more to it than that.

Stewart's Shades of Gray

2010-09-06T12:46:00.000-07:00

When Jon Stewart takes a vacation, the news of the world gets a little harder to take. I'm not one of those people who rely on The Daily Show for "real" news, but Stewart's "fake" newscast takes the edge off the ridiculousness and hypocrisy of politicians, talking heads, everyday racists, and everything involving South Carolina.

When my boyfriend and I load up the latest show (one day delayed), we experience one half-hour of camaraderie with other people who actually see the world in shades of gray.

Instead of getting down in the dumps when Stewart takes a vacation, we've started watching archived episodes of The Daily Show. Our TV is connected to the web (we ditched cable, hallelujah) so we have all 11 years of the show at our fingertips. Neither of us watched the show regularly before about 2007 (night owls, we aren't), so we've had a blast going back and "discovering" correspondents like Steve Carell, Ed Helms and Steven Colbert.

But The Daily Show is so much more than comedy. Sure, some mistake it as a mouthpiece for the Left, but that characterization only holds water for lazy thinkers who see the world in black and white. That kind of thinking is for Fox News and MSNBC blowhards who want you to turn off your brains and tune in their channel for some adrenaline-pumping cheerleading.

Stewart, on the other hand, is the referee. He cuts through the bullshit, blows the whistle, and calls foul on anyone who step out of bounds. He uses humor to get your attention and, more importantly, illuminate the convenient narratives being shaped by politicians, media, and the corporations who own them all.

In effect, Stewart is America's mainstream media critic and, as far as I'm concerned, should be essential viewing for anyone who wants to see the world more honestly.

Since my review of "The Tillman Story" ran last Friday, I've received only two kinds of feedback: kudos for "telling it the way it is," and disdain for implying that the military or the Bush administration did anything wrong. Sides are clearly drawn - black and white, Left and Right.

But I'm curious to know what both camps will think if and when they actually see the film, which throws every assumption we're pressured to make -- about politics, war, honor, football players, family--into question. It's a film about shades of gray.

With "The Tillman Story" still on my mind, we decided to dig into The Daily Show archive and watch episodes from significant events in recent history. First we went to March 19, 2003, the day before the U.S. invaded Iraq. Then further back to February 6, 2003, the day after Colin Powell's presentation to the United Nations about Iraq's hidden weapons of mass destruction. If you need any proof of Stewart's good-natured ability to cut through the crap, these video time capsules are it, especially his interview with Bush speechwriter David Frum, whose smugness and phony "awe" of the President are sickening.

The Daily Show With Jon Stewart

Mon - Thurs 11p / 10c

David Frum

www.thedailyshow.com

Daily Show Full Episodes

Political Humor

Tea Party

You also can't help but notice how much sunnier Stewart was back then in the early days of the Bush administration. Of course, he's older now, fuller-faced with more gray hair and better suits. But he's also angrier, more frustrated. I was a bit startled by the levity he displayed in talking about our run-up to Iraq. Still sharply funny, but without the "I'm mad as hell and I'm not gonna take it anymore!" vibe he has now.

You know why? Because he knows that his gray-shaded take on the world is losing to the inanity of the Birthers, Tea Baggers and Glenn Becks of the world. And all these years he's been preaching to the choir. The very small, cable television choir.

We need more Jon Stewarts, more mainstream media critics, more angry, clear-thinking people insisting that Americans shove aside the black and white lazy-mindedness and start thinking (and acting) our way out of this mess of stupidity.

Start by going to see "The Tillman Story"-- and bring everyone you know.

And we're off.....

2010-09-05T09:36:00.000-07:00

Hi there. I'm Alison Gang, movie critic for the San Diego Union-Tribune.

As much as I love seeing my reviews in print, there's only so much I can cram into 14 column inches. So I've launched this blog to create a place where I can share my unedited opinions on film, television, media -- basically anything that dares to inform or entertain us.

Not that I pussyfoot around in my U-T reviews, but there are some scabs I choose not to pick in a mainstream, daily newspaper. So in print, I stay focused on the film and do my best to help the reader decide if it's something that fits their tastes.

None of that crap here. I plan on using this blog to get personal, political and just plain profane -- when I want to anyway. I can also be philosophical, emotional, and a total dork. The one thing I can't be is insincere, so whether you agree with me or not, I hope you'll at least know I mean what I say. I'm open to hearing why I'm wrong too, so use the comments section to tell me, or send me an email at alison@alisongang.com.

Who the hell am I to spout opinions? Well, I have a Film Studies degree from Columbia University, a Masters in Mass Comm/Media Studies from SDSU, and have worked in and around the TV/Film business for more than 15 years. So I think I have a broad perspective of how "the business" works - both good and bad. I've been the U-T's critic since January 2010, and before that for the La Jolla Light. I'm also a member of the San Diego Film Critics Society.

For more about me, read the U-T's "Meet the Critic" Q&A (January 22, 2010)

When I'm not in a crowded movie theater telling some loudmouth behind me to shut up, I'm usually at my day job as Communications Manager for University of California Television (UCTV) and UCSD-TV. I've been there since 2003 and love and believe in our public service mission. And I'm lucky to work for an institution that supports my extracurricular endeavors--and the extra cash during furloughs and budget cuts doesn't hurt either.

Thanks for joining me here!