August, 2010

Film Analysis is Objective

That statement alone can summarize my entire philosophy towards ranking, analyzing, viewing and enjoying cinema. Film is an artwork that involves both objective and subjective elements, but on a whole, is something that involves clear rights and clear wrongs. A rash start, I know, but I felt it was necessary to make it clear that my methodology is quite different from other film critics.

I don’t claim to be a professional

Although I’m taking film and theatre classes in University, it’s not the focus of my degree, and doesn’t even fit the University’s definition of a “minor.” Film is my life-long hobby, something I’ve grown impassioned to at a young age. I’ve watched thousands of movies over my life, and I’m always open to watching foreign or independent films that no one’s heard of.

I hate movies most people like

Some might call it being a bit of a contrarian, but I wouldn’t entirely agree. I hate Blockbuster films and what they represent (the decline of Western civilization) and for the most part, people love Blockbuster films. However I’m equally as likely to view some avant-garde attempt at filmmaking in disgust and contempt. I enjoy movies that bring true art to the masses, and as you will find out soon, most of these films are, in fact, Blockbusters in their own rights (i.e. anything by Christopher Nolan.)

I hate Hollywood

That’s nothing special.

It’s important to tell my perspective on viewing and critiquing film. I’ve come to personally know there are at least three different pillars of film analysis. This is entirely my original perspective based on my experiences, and in no shape or form represents any doctoral view on the matter. Most people are some combination of one or two of these views, or fall into none of the categories (the simpletons who love grotesque action and despise anything with depth.)

Progressive Analysis – this method of analysis would ideally believe that there is no such thing as a “bad film.” All films have a mandate to fulfill, and success should derive from the individual perks and high points. Every film, no matter how “bad” it is or far from the mainstream, still contributes and influences further works of film. All films contain some form of technical ingenuity that is strictly limited and unique to the film in question. This is how God-awful films like “Trolls 2” and “Silent Night, Deadly Night 2” can still somehow retain a cult following (precisely for that very reason that they are God-awful, and therefore treasured unintentional comedies.)

Contextual Relativism – this method states that films should be judged within their context rather than along a linear line. Films can be considered poor or choppy when compared to films of a different genre. This is especially for genres generally accepted as “canon beautiful” or narrative-driven; i.e. dramas or epics. Thus a comedy film should only be compared to other comedies of similar styles, budgets and cultural roots and the same goes for other genres from different periods. A Hollywood blockbuster’s special effects should never triumph over independent or older films simply because of the gap in funding and available technology. Indeed, an older or independent film’s ability to adapt or compensate for the lack of funding is one of the many ways these films become enjoyable to watch.

Populist Classicalism – this method states that there is a clear cut difference between a good film and a shoddy piece of work. Good films influence a greater number of future projects, advance genres to various degrees, set technical standards, and have memorable and well-played dialogue. Good films also require high levels of adaptability, especially when funds are lacking. How a crew adapts can determine whether a film sinks or swims. Populist Classicalism believes all films should be judged along the same lines, no matter their cultural or periodical origins and despite their genre or stylistic differences. It also generally favours films that are both accessible to a large audience while retaining its artistic attributes. A Populist Classicalist would view a science fiction film like “Metropolis” and “Minority Report” on an equal level, which can admittedly be more inclined and biased in favour of modern films over older pieces of work. But at the same time, it can also work in a foreign or independent film’s favour when “Crouching Tiger Hidden Dragon” clearly surpasses any American attempt at a martial arts film in the past 30 years.

I’m a populist in the sense that I adore films that are brought to a large audience, and have the potential to affect and implement societal change (and yes, movies do have that effect.) But, I’m also a classicalist in the sense that I love the art aspect of film. The dialogue, the cinematography, the score, the lighting, the costumes, the tiny set details, the symbolism and metaphors placed throughout the film. These are the things I pin-point in movies, and this is what I enjoy most.

Reactions to the winners at tonight’s 62nd Annual Primetime Emmys

Outstanding Supporting Actor in a Comedy Series: Eric Stonestreet, Modern Family There’s no way Chris Colfer didn’t deserve this award the most of all of those actors. I expected Alan Cryer to win, based on previous years, but I certainly didn’t expect Stonestreet to take it. No offense to him; he’s a great actor, but definitely not the most deserving in that category.

Outstanding Writing for a Comedy Series: Christopher Lloyd and Steven Levitan for Modern Family

Outstanding Supporting Actress In A Comedy Series: Jane Lynch, Glee I am so thrilled for Jane Lynch! She is so deserving of this award! Great speech, too! Editor’s note: Strictly Pop does not necessarily condone the use of three exclamation marks in such a small paragraph.

Guest Actress in a Comedy Series: Betty White, Saturday Night Live No surprises there.

Guest Actor in a Comedy Series: Neil Patrick Harris, Glee Hrm. If it couldn’t have been Mike O’Malley, I would have picked NPH.

Comedy Directing: Ryan Murphy, Glee

Outstanding Lead Actor in a Comedy Series: Jim Parsons, Big Bang Theory I wanted Jim to win, but thought there was no way he would be chosen over a heavyweight like Steve Carell! Kudos to him!

Outstanding Lead Actress in a Comedy Series: Edie Falco, Nurse Jackie Honestly, I’m surprised that Toni Collette didn’t win. I LOVE Nurse Jackie; don’t get me wrong, but Toni Collette just blows my mind! Edie’s reaction was priceless! Great little quip in there, too, by presenter Neil Patrick Harris: “I would just like to thank the Academy for allowing a gay man to host the Emmys two years in a row.”

Outstanding Reality — Competition Program: Top Chef, accepted by Dan Cutforth

Outstanding Writing for a Drama Series: Mathew Weiner and Erin Levy, Mad Men

Outstanding Supporting Actor in a Drama Series: Aaron Paul, Breaking Bad

Outstanding Supporting Actress in a Drama Series: Archie Panjabi, the Good Wife

Outstanding Lead Actor in a Drama Series: Bryan Cranston, Breaking Bad

Outstanding Guest Actress in a Drama Series: Ann-Margret, Law and Order: SVU

Outstanding Guest Actor in a Drama Series: John Lithgow, Dexter

Outstanding Directing for a Drama Series: Steve Shill, Dexter

This “musical tribute to shows we lost this year”‘ is pathetic. You know, I find that the best way to deal with a petulant child is to ignore him, not let him host the Emmys.

Outstanding Lead Actress in a Drama Series: Kyra Sedgewick, The Closer

Outstanding Writing for a Variety, Music or Comedy Series: 63rd Annual Tony Awards, accepted by Dave Boone

Outstanding Directing for a Variety, Music or Comedy Special: Bucky Gunts, Vancouver 2010 Winter Olympics Opening Ceremonies Ricky Gervais is looking good! “Mel Gibson… No, come on; I’m not going to have a go at him. He’s been through a lot. Not as much as the Jews, though.”

Outstanding Variety, Music or Comedy Special: The Daily Show With Jon Stewart, accepted by Rory Albanese “It’s tough to feel bad; we work really hard.”

Bob Hope Humanitarian Award: awarded to George Clooney by Juiliana Marguiles

Best Supporting Actress in a Miniseries or a Movie: Julia Ormand, Temple Grandin

Outstanding Supporting Actor in a Miniseries or a Movie: David Strathairn, Temple Grandin

Outstanding Writing for a Miniseries, Movie or a Dramatic Special: Adam Mazer, You Don’t Know Jack

Lead Actress in a Miniseries or Movie: Claire Danes, Temple Grandin

Outstanding Directing for a Miniseries, Movie or a Dramatic Special: Mick Jackson, Temple Grandin

Outstanding Lead Actor in a Miniseries or a Movie: Al Pacino, You Don’t Know Jack

Outstanding Miniseries: The Pacific, accepted by Tom Hanks

Outstanding Made for Television Movie: Temple Grandin, accepted by Emily Gerson Saines Outstanding Drama Series: Mad Men, accepted by Matthew Weiner Tom Selleck, you handsome mustachioed bastard.

Outstanding Comedy Series: Modern Family, accepted by Steven Levitan

Overall, I thought it was an okay show this year. Jimmy Fallon is certainly no Neil Patrick Harris, but who really is? Nothing really surprised me, aside from the results of Outstanding Lead Actor in a Comedy Series (shocked in a good way) and Outstanding Supporting Actor in a Comedy Series (shocked in a bad way.)

After two close calls this summer with marijuana possession charges, Paris Hilton decided she’d switch from smoking to snorting…and got caught.

While cruising along down the Hollywood Strip in a black Cadillac Escalade with her boyfriend, Cy Waits, police thought they saw pot smoke emerging from the car, but found cocaine on Hilton’s person instead, and brought her and her beau to the Clark County Jail where they were released a few hours later. Hilton’s first public statement after release was quite insightful:

In bed watching Family Guy. Love this show.! So hilarious! Stewie is my favorite love his accent.

According to the Associated Press, possession of cocaine is a felony, but given the low-grade nature of the offense, it will likely only lead to probation if she’s convicted. And we all know how seriously to take celebrity probation sentences…

The latest horror movie to hit theaters is The Last Exorcism, a low-budget mockumentary horror film directed by Daniel Stamm. The movie is shot from a single camera being held by a documentary camera man (never seen) with a producer (Iris Bahr) following evangelical minister Rev. Cotton Marcus (Patrick Fabian of the show Big Love.) Rev. Marcus is a minister at a protestant church in Baton Rouge, Louisiana and makes his big money going around the country performing exorcisms on individuals who believe that they’re possessed. The catch? Rev. Marcus doesn’t believe in demons, or even God for that matter. After learning about a young boy his sons age dying during an exorcism, Marcus decides that he will perform one final exorcism and allow a camera crew to follow him so he can prove to the world that the industry is a scam, with the hope of saving other potential victims from harm.

Marcus’ final exorcism is to be performed on the ridiculously cute 16-year old Nell Sweetzer (Ashley Bell,) whose farmer father Louis (played by Louis Herthum) suspects has been murdering the livestock at night. Putting on a nice suit, his game face, and a magnetic Christian insignia on his minivan, the ex-Christian sets off assuming this will be just another performance, not knowing that there may be some actual demonic forces lurking about.

I love horror movies. Though, I must admit that I went into this movie assuming it would be disaster, much like the majority of “horror” movies released in the last 20 years. This movie didn’t disappoint, however. Unlike The Exorcism of Emily Rose, The Last Exorcism doesn’t pretend to be based in truth, merely presenting itself as being fictional ‘found footage.’ The movie didn’t rely on too many effects. In fact, even the bizarre contortions of little Nell were the result of the actresses’ double-jointedness and ballet training! Instead, the movie used a strong plot line, and a few interesting sub-plots to maintain the interest of the audience. Interestingly, there was more laughter than screams from the crowd watching the movie. However, it wasn’t the typical mockery of horror movies, but rather responses to the subtle humor that the director managed to slip into the film.

You won’t find the shock-and-awe factor as present in this movie as is generally expected with horror flicks. That being said, I do recommend seeing it. Pay attention to the first 30-minutes though; it really puts the last 10-minutes into perspective!

It appears that Glee’s Kurt Hummel will have something new to sing about this season! Jane Lynch has confirmed that Chord Overstreet will play Sam Evans, the new star quarterback and Kurt’s love interest. No word yet on how Finn’s taking being shafted from the team. There will be a few other changes in cast this season:

Cast members being bumped up from “guest stars” to “series regulars” include Naya Rivera (Santana Lopez,) Heather Morris (Brittany,) Harry Shum Jr. (Mike Chan,) and Mike O’Malley (Burt Hummel, one of my favourite characters.) Being cut from the show completely is Patrick Gallagher, who plays Ken Tanaka, the football coach who will be replaced by Shannon Beiste, played by Dot Jones. Vocal Adrenaline will also get a new coach, as Shelby Corcoran (Idina Menzel) has taken some time off to – oh, yeah – raise Quinn and Puck’s love child, Beth. This season, we will also meet Emma Pilsbury’s new love interest, played by John Stamos, who Emma described as having “more certainty than talent” in the episode Acafellas. Susan Boyle will be appearing in the Christmas episode, and Javier Bardem will make an appearance sometime in the second half of the season. Carole Burnett will also be joining the cast as Sue Sylvester’s mother. Returning guest stars include Jonathan Groff (Jesse St James,) Kristin Chenoweth (April Rhodes,) and perhaps Neil Patrick Harris (Brian Ryan.)

This season’s episode themes have been kept pretty hush-hush, but producer Ryan Murphy has revealed that there will be a Rocky Horror Picture Show episode (cast your predictions as to who will look best in tights in the comments,) as well as a religious-themed episode (featuring songs like Billy Idol’s White Wedding,) a Paul McCartney one, and a sequel to the “Power of Madonna” episode from the first season. Thanks to Britney Spears’s tweets, we know that the “Britney/Brittany” episode will be a great one. Also this season will be a tribute episode, to be aired in the time slot after the Superbowl. Rumour has it that the tribute will be to Prince, Michael Jackson, or the Beatles. My money’s on MJ. The average number of musical performances will be cut to five per episode, in order to focus more on plot.

The second season of FOX’s hit musical comedy series Glee will be hitting the silver screen in late September. Just for fun, let’s have a look at the cast’s actual yearbook photos!

(Click on a photo for the full-size version.)

In order (L-R,) the pictures are of:

• Lea Michele – “Rachel Berry”
• Matthew Morrison – “Will Schuester”
• Mark Salling – “Noah ‘Puck’ Puckerman”
• Kevin McHale – “Artie Abrams”
• Jane Lynch – “Sue Sylvester”
• Dianna Agron – “Quinn Fabray”
• Chris Colfer – “Kurt Hummel”
• Amber Riley – “Mercedes Jones”

With the Ryder and FedEx Cups on the horizon, it is difficult to predict which one will be more underwhelming. The Ryder Cup should be exciting, as it is a nationalistic competition. And while it has gained popularity in North America over the last decade, to many, myself included, it remains just an exhibition match of no real value. Many remember Phil Mickelson’s infamous equipment switch in 2004, when he decided that the Ryder Cup would be a great place to test a driver, woods, and a ball from a new equipment sponsor, Callaway. Some ridiculed Phil, others realized how insignificant the Ryder Cup is and let it slide. Tiger Woods put the Ryder Cup into perspective in 2004 when he asked the press room, a crowd of, allegedly, the most knowledgeable golf fans in the world, if they knew what Jack Nicklaus’ career Ryder Cup record was. They did not. Tiger then asked how many Majors the Golden Bear won. End of story.

That being said, this year’s Ryder Cup does have some drama attached to it. The world’s number one player, Tiger Woods, did not qualify for one of the 8 guaranteed spots on the US roster. The only way Woods can make the team now is if US captain, Corey Pavin, selects woods as one of his 4 ‘captains picks.’ A year ago not picking Tiger would never even be contemplated. However, with Tiger’s up and down year on the course (remember, it’s only ‘awful’ by Tiger’s standards. How many players on the Tour wouldn’t take two top 5s at the Major in one year?), there is talk of leaving Tiger off the team. Sports writers from around the world are urging Pavin not to pick Woods, pointing out that Tiger is not playing well and claiming that he would be a distraction. They actually want to exclude the most dominant athlete of this generation.

In reality, a place seldom visited by most of the media, selecting Tiger Woods for the team should be the easiest decision Corey Pavin has ever made. Tiger Woods has won 14 Majors. He is still the number one ranked player in the world. He will go down as the best golfer to ever pick up a club. He’s Tiger Woods! When Pavin said that Woods was not a lock to be a captain’s pick Jack Nicklaus said “he’d need a brain scan if he left Tiger out of the team.” The Golden bear is right — you don’t pass over the best golfer of all-time.

That being said, it is the Ryder Cup. Does anyone this side of the Atlantic really care?

(H/T September 2010 issue of Golf Digest)

Cross-posted to TenDollarBeers.com