Education reform has been up for long debate all over the country, especially in New York City. The question whether to send you child to a public school, private school or a charter school, is a question every parent has to ask. In New York City, the stats are staggering. The number of African-American and Latino students who are ready for college, who can read at their grade level or even graduate from high school are shocking. In Harlem, to stop this plague in the community, a new type of school have been sprouting up. Harlem Success Academy is a charter school, a publicly funded school that is outside of the traditional education system. They are supported by the people and by private donations, they serve as an alternative to traditional public school. They are seen as over-achieving because the success rate of their students exceeds the traditional public school. The new film from filmmaker, Madeleine Sackler, The Lottery examines this phenomenon of the charter school.
The film follows four hopeful students whose families enter them in the annual charter school lottery. This lottery is held to choose the next class of students. The demand is too high for these schools in Harlem so a lottery is the only fair way to enroll new students. This process is juxtaposed with debates and arguments from both sides of the issue. People for charter schools who see the value of this new type of education and people on the other side who see these schools as a way of gentrification of their neighborhoods. Sometimes brutal and petty, this debate takes place throughout the whole film. As a measure of concern, it is hard to say who is right and who is wrong. This is an issue that is growing and growing everyday and there is really no end in sight. This is a credit to the filmmaking by interjecting a “talking head” documentary with organic storytelling that is remarkable and consistent. This film is honest, presenting both sides of the issue with a fair balance.
At the climax of the film, as a member of the audience, you are on the edge of your seat with anticipation; which of these four students will attend the Harlem Success Academy in the fall. If they do attend then it is seen as a first step to something greater, a brighter future. If not, then there’s always next year but the disappointment of not providing the best for their child is something every parent can relate to. With an excellent education, we all win. The only problem is politics and pride stop this excellence from arising. The Lottery is a shocking film that exposes the bureaucracy of the New York education system with an unblinking eye of a skillful filmmaker.
Flashes, laughs and cheers! Scott Pilgrim Vs. The World will be the most fun you’ll have in the theater this summer, guaranteed! Now I know this is a very hyperbolic statement but due to the sheer lack of fun and quality during the summer movie season, this statement is warranted. With all the hype surrounding this film created by the geek online community and its studio, Universal, it maybe hard to live up to such grand expectations. And trust me, these expectations are really high. I feel this film exceeds these expectations then punches them in the face, leaving you asking for more. It is really that dazzling!
Scott Pilgrim Vs. The World is based on the widely popular manga-style book by Brian Lee O’Malley and is the story of a 22 year-old charming, jobless, loser named, you guessed it, Scott Pilgrim (Michael Cera). His only ambitions in life are to play bass in his band, Sex-Bob-Omb and to love the ladies. The only problem is he’s not good at either of these things. He dates a 17 year-old high school girl named Knives Chau (Ellen Wong *swoon*) to the disapproval of his friends and family. But something in him changes when he meets the new girl from America (the movie takes place in Toronto, Canada), Ramona Flowers (Mary Elizabeth Winstead). To win Ramona’s heart, Scott must defeat her seven evil exes.
The film plays like a comic book in a world that feels like a video game. What Mark Neveldine & Brian Taylor do for Crank and Crank: High Voltage, director Edgar Wright (Shaun of The Dead, Hot Fuzz) does for Scott Pilgrim Vs. The World. But done in a PG-13 way. It’s very bright and charming. These characters feel as if they embrace this world rather than run from it and that’s exactly how this film should be viewed. Although it is unfair to say, I don’t feel this film will play to an audience over 35 years old or to an audience not familiar with its pop culture references. For all its bright and shiny, video game aesthetic, it could be seen as overbearing and, somewhat, harsh to the uninitiated. Almost abrasive. But allowing the film to seep into your body and soul, the movie will be rewarding.
For the talent of Edgar Wright, the film is very well made. It mixes genre with such ease, done from the point of view from a master filmmaker on the level of Quentin Tarantino. The film is half video game, half comic book, half manga and half music video. Easily, this film could be done in an awkward light but Wright balances everything this movie is with such ease and skill. Edgar Wright makes this film fluid. A cleverly written and executed film done by an exciting filmmaker. In this way, it does feel like reading a comic book and all the joys and pitfalls that come from it. In a world that feels like a video game, Scott Pilgrim has to “level up” between battling Ramona’s evil exs. Each fight scene is meticulously choreographed to show the strengths and weaknesses of each character whether it be good or evil. Fight scenes that almost play as comedy that reminds me of Jackie Chan, Buster Keaton or Jason Statham. Along with the fluidity of each scene, there is a certain flow to each fight sequence. Scott Pilgrim Vs. The World is Edgar Wright’s Kill Bill.
And for all its glitz and glamour, at the core of this film is the love triangle between Scott, Ramona and Knives. Seeing how your actions effect the people around you and the people you love is a harsh reality. It comes with the territory for becoming an emotionally stable person. A theme a lot of movies about people in their early 20s seem to miss the point. Scott Pilgrim Vs. The World does not miss this point at all. And really at the core, is Scott Pilgrim coming into his own realizing he must put childish things and selfishness aside to become a self-aware adult. Complete with adult responsibilities, emotionally and spiritually. Doing the right thing isn’t always the easiest but Scott learns to deal with himself and his relationship with others. Fighting your girlfriend’s evil exes is simply not enough but facing yourself is the true test of being an awesome person like Scott Pilgrim. And thankfully there are 1-UPS!
For what it’s worth, with movies like “The A-Team”, “Knight & Day” and “The Prince of Persia: The Sands of Time”, “The Last Airbender” was set to be the savior of the summer box office season. It also looked like a certain return to form for filmmaker M. Night Shyamalan, whose last film, “The Happening”, was more disappointing than the summer movie season of 2010. Could Shyamalan return to this form? The answer (in short) is no. “The Last Airbender” will join the rest of Shyamalan’s films as a movie that came up short in a huge way.
“The Last Airbender” is the story of Aang (Noah Ringer), the last living member of his nomadic tribe, the Airbenders. In this world, there are four nations and in each nation the people have the ability to manipulate (or “bend”) the elements (water, fire, earth and air). There is a disturbance in the balance of this world. Only one can control all four elements and bring balance back to the four nations. This is the Avatar, Aang. He went missing 100 years ago and was frozen in a block of ice. Until Katara (Nicola Peltz) and her brother Sokka (Jackson Rathbone) freed him from his icy prison. Now free, Aang has to stop the Fire Nation, who have become too powerful, from conquering this world.
If it sounds like there is too much exposition in this movie, there is. What this film suffers from is a big expansive world crammed into an hour and 42 minute movie. And because of this expansive world every character moment has to serve as exposition to the plot. Not a single line goes by that doesn’t remind the audience what to look for and what this world is. Shyamalan looked like he has a big undertaking here but decided to cram and force feed the audience rather than let it grow and flourish organically. I understand the notion of keeping the story going but by doing this with stilted dialogue and laughable line readings (yes, line readings, I do not consider that acting) then that outcome will be a huge mess of a movie.
The emotional payoff never really comes, in fact, there is no payoff to speak of. It is all a huge set up for the (inevitable) sequel, which is a shame. Real character moments were sacrificed for plot points and exposition. Prince Zuku (Dev Patel) seemed to be positioned as the emotional weight of this film. We get a small sense of what he’s going through emotionally. A tortured young man trying to win back his honor and his father’s love. This should have been the direction of the film. But those small moments are never capitalized on and are thrown out to make way for hitting the correct plot points. This was a missed opportunity to show that there is something more to The Fire Nation than a conquering and bullying people.
In fact, Shyamalan never gives us an actual emotional storyline. If Aang is the main character, then why don’t we see his emotional arc. Rather we are given pedestrian stories of worry and woe that don’t add up to a hero’s journey. The source material is there but the adaptation and execution were not.
This is also Shyamalan’s first action movie and it shows. Most of his past films relied on drama and suspense to convey the characters on the screen. Shyamalan shoots action really poorly, not allowing the camera to pick up the (what I assume) would be elaborate action sequences, he would much rather shoot close ups or show the action off screen. In a “300”-esque type of manner the action sequences are not nearly as good or as exciting as what Zach Snyder delivered in 2006. How do you amp up the action and flatten it at the same time? The thrill and excitement of the fight scenes fall flat very much like the 3D.
“The Last Airbender” was up-converted to 3D in the wake of the popularity of the new “Clash of The Titans” and “Alice In Wonderland” success stories, it’s also an element that the film suffers from. The 3D brings absolutely nothing to the storytelling or action sequences. It is wasted. It didn’t create a 3D image rather a flat and limp one. The possibility of “bending” was a wasted opportunity to showoff this new technology but instead it annoyed me having to watch a lifeless picture.
I am a huge fan of the Nickelodeon TV series. This was possibly the best 3 seasons of TV in the last 10 years of any TV series, live-action or animated otherwise. Each episode was more important than the last. The creators of the TV series have masted the craft of storytelling and character development. Shyamalan on the other had has not. When moments of the animated series have more subtlety and nuance than the live action version (which have actual human beings in it) then something is wrong here. Giving a chance to bring this wonderful world to life and on the big screen should be an honor but rather it was treated like a degradation, a quick money grab to capitalize off the success of the TV series. It’s insulting that this is the end product of a wonderful TV series.
The race controversy that surrounded this film has been well documented and publicised during the making of and release of the film (you can learn more at RaceBending.com). After seeing “The Last Airbender”, that controversy is the least of this movie’s problems. The film falls flat and feels rushed, instead of letting the audience gaze in wonder at this fantastic world and its characters. The success of the TV series came from it’s strong characters, somewhere down the line Shyamalan forgot this why people see movies in the first place. Not for the spectacle of 3D, set and costume design and CGI but for the emotional weight that we can relate to what’s on the screen. That a good movie makes a connection with you and not at you.
I do wish the twist at the end of “The Last Airbender” was that the movie actually turned out good but sadly there was no twist ending to be had. We get the same old M. Night Shyamalan, disappointing, flat and just bad. When will be learn?!
Sketch comedy usually doesn't work on the big screen. For every "Wayne's World", you have three "Night At The Rocksberry"s. A huge reason for this is it is hard to capture an audience in a long form. Going for storytelling with a 4 minute running time is a different beast to tame than storytelling with a 94 minute running time. Characters suited for in a 4 minute lifespan are easy to stomach while having those same characters in a 94 minute lifespan can lead someone to have dysentery. The once New York City based sketch comedy troupe, Derrick Comedy has made the risky leap onto the big screen, but with solid storytelling, interesting characters and honestly absurd comedy, this leap has become a success.
"Mystery Team" is the story of three childhood friends who start a business solving mysteries. For 10 cents, the Mystery Team will find the culprit of whomever knocked over your trash can or who stuck their fingers in Mrs. Kimmel's pie. When they were 7 years-old, they were celebrated and loved by everyone. Now they are 18 year-old high school seniors, they still continue to solve mysteries around their neighborhood, only they are all in the same mindset as if they were 7 years-old. An interesting commentary on arrested development, not wanting to grow up, and being forever young. Childish, cartoon-ish and somewhat annoying, the mystery team aggrevate their entire neighborhood. When they are hired to solve a murder mystery, the team has to grow up fast if they want to earn their dime and solve this case.
"Mystery Team" is a delightful revelation! Cleverly written and wonderfully put together, it's really something seeing this film hit these cinematic marks so well. I'd like to see what the people at Derrick Comedy could do with a bigger budget. No doubt it would be something special. Making its world premiere at the Sundance Film Festival in 2009, "Mystery Team" embodies what it means to be small, to be independent and to be cinematic. Not to say this movie isn't funny, it is. It's sight gags, reactions and absurdist dialogue is sharp and quick witted.
The DVD is full of great bonus features. A commentary track with all of the members of Derrick Comedy that rewards repeat viewings. A short film titled "Who Is Wally Cummings?" brings to light the exploits of one of the extras featured in "Mystery Team", a real revealing "Making of" documentary that shares the experience of "Mystery Team" with it's audience and a strange feature simply called "Sword Club". Dan Eckman, the director, explains the origins of sword club with me in a recent interview.
A new comedy for a new generation and we can reap the rewards of its very talented cast. Three of which are featured in current NBC sitcoms, Donald Glover on "Community", Aubrey Plaza on "Parks & Recreation" and Ellie Kemper on "The Office". This small movie has gained somewhat of a cult status among a small, but growing, crowd, and it's easy to see why. "Mystery Team" is an experience to share with a group of people. "Mystery Team" is to Derrick Comedy as is "Wet Hot American Summer" is to The State. A first venture into an adult world that might not be ready for them, and in that way it is just like its protagonists.
There is no doubt (so far) the biggest movie of the summer of 2010 is "Iron Man 2". It will be a while before "Iron Man 2" will get knocked off the apex as the king of summer movies. One element of Iron Man 2 I appreciate is the simplicity of its title. Yes, the title is simply "Iron Man 2". Not "Iron Man 2: The Revenge of Whiplash" or "Iron Man 2: The Teaming Up With War Machine" or "Iron Man 2: The Weight of The World". Nowadays, it seems like every fan boy movie property MUST have a subtitle in its subsequent sequel.
I remember when I first thought this was a ridiculous trend was during the summer of 2003 when Gore Verbinski's "Pirates of The Carribean: The Curse of The Black Pearl". I thought to myself, "This is the most ridiculous title I've ever heard. Can this title be any longer?" Sure, this wasn't the first instance where a title was overlong. We have George Lucas' "Star Wars: Episode 1 - The Phantom Menace" and I guess you can argue the gravity of the title was important here. This was the first Star Wars movie in 22 years, you have to tell the audience what this film is and you have to sell the aspects of its past popularity.
And of course we all remember a movie from 1996 starring Shawn and Marlon Waynes, "Don't Be a Menace To South Central While Drinking Your Juice In The Hood". Now this was being sold as a parody of early 90s "'Hood" genre films.
In 2001, we had Peter Jackson's "The Lord of The Rings: The Fellowship of The Ring", and I guess you can argue (again) you have to tell an audience what film this is and you're trying banking off the popularity of an established property. But for what's it's worth I'm not excusing these titles because of their length, I'm merely establishing a trend here.
Even non-fan boy films are getting into the (long) name game. Last year we had Lee Daniel's "Precious: Based On The Novel Push by Sapphire". Is this really necessary? What is being sold here? Does Sapphire have the same recognition as Lord of The Rings or Star Wars? Why not have a title like Jason Reitman's "Up In The Air: Based on The Novel Up In The Air by Walter Kirn Adapted and Directed by Jason Reitman Starring George Clooney"? Or Paul Thomas Anderson's "There Will Be Blood: Based on The Novel Oil! By Upton Sinclair"? Are our attention spans that short that we can't even commit to a title or we have to be over sold on seeing a movie? It's not enough to see a movie based on a title but we need a very brief synopsis on what the movie is actually about to go along with it.
It is very refreshing that a fan boy favorite like the Iron Man franchise has chosen to have a simple title for its sequel. Moreover, I want this trend of overlong titles to end. Hopefully the sequels for Batman, The Hulk and District 9 will have simple titles that aren't overbig and bloated like Michael Bay's "Transformers 2: The Revenge of The Fallen". And we don't need another "The Fantastic Four: The Rise of The Silver Surfer".
"Pull yourself together Teddy" are the lines uttered by Teddy Daniels (Leonardo DiCaprio) at the beginning of the new film, Shutter Island (FEB 19). Not only is that a sentiment related to Teddy's state of mind, it relates to the actual filmmaking by Martin Scorsese. Loose ends, silly story lines and a gimmicky pay-off are all brought together with skill and expertise making this movie more than the sum of its parts, and definitely worth watching.
Shutter Island is the story of two U.S. Marshals, Leonardo DiCaprio and Mark Ruffalo, who come to a mysterious mental hospital built on an island off the coast of Massachusetts to investigate the disappearance of a resident patient. But the mystery of "who-done-it" quickly turns into a psychological, paranoid thriller when the pair discovers there is more going on at the hospital than treating mental patients. Teddy is hard pressed to solve this case. He has a personal investment on the island - his wife's murderer (she died in a building fire) is imprisoned there. The film jumps between the investigation and Teddy's flashbacks as a soldier in World War II. The guilt of not doing enough during wartime and for his wife, eats at him.
While the film is tonally consistent, it is thematically flawed. Things that work better in novels (Shutter Island is based on the novel by Dennis Lehane) and don't necessarily translate well to the screen. Scorsese is always putting his audience in the mindset of the protagonist, and sequences of brutality in Teddy's state of mind and dreams seem to branch away from the story, to a fault. These scenes don't pay off later in the film, though tonally they fit in the whole picture.
In lesser hands, Shutter Island would be a mess. It had the potential to be riddled with plot holes and clichés but in Scorsese's hands all other those conventions are thrown away. The level of filmmaking is one to witness in this film. Not only is it highly engaging, it's emotionally sincere. DiCaprio's Teddy Daniels is sympathetic to the audience, and his plight is admirable. Perhaps the movie's biggest failing is that, while Scorsese is clever in putting together the disparate pieces, Paramount was far less clever in its marketing. Due to their boneheadedness in putting together a sellable trailer they, in fact, spoiled the film in the theatrical trailer - so be warned if you watched it.
Shutter Island is not a perfect film. But it is highly captivating and engaging. Scorsese masterfully strings the audience along with insightful dialogue, hyper-lighting, striking cinematography and an obsession with the absurd and the guilty. It is a shame this film was delayed and pushed back for release in February 2010 when it was originally set for October 2009. This could've made a legitimate run during Oscar season. It really is insane how Scorsese makes award caliber films with such ease.
This past decade was the digital revolution. At the beginning of the "aughties", I used to buy CDs and within a few years into the decade, I started using MP3s, exclusively. I can't remember the last CD I bought for myself. (Wait, I do! Slowreader's Self-Titled record on Fueled By Ramen. Awesome Record!! A true gem!) With the emergence of iPods and broadband internet, buying physical media has been dying out for years.
As I wrote yesterday, "The decade started off with sounds that were so simple and melodies so uninvolved that throughout the years, the sound just got more and more complex." I may have made this statement in haste. My #5 pick for the decade is far from simple. I think this comment pertains more to my #1 pick, if anything. Plus, I think I meant to say that 2009 was a year that saw the melding of many genres into one. If there could be a word that could sum up 2009, I would think it would be "pastiche". But I digress... Yesterday, I listed my Top 5 records of 2009 and as promised, I present my Top 5 records of the decade.
"Kid A" or "In Rainbows"? This was a tough decision but I feel I made the right one. Don't get me wrong, I love "Kid A". I wore that shit out in 2000. But I ultimately decided on "In Rainbows" as a better record. Radiohead released "Kid A" at the beginning of the decade and it's interesting to see how Radiohead fits in the "aughties". Their next release was "Hail To The Thief" which was a return to form, of sorts. It took that sound from "Kid A" and broke it down back to their sound from "Pablo Honey" or "OK Computer". "Hail To The Thief" was considered a failure or a step back for the band. Then we didn't hear anything from Radiohead for nearly 5 years. Then in 2008, they gave us "In Rainbows". Some would say, a return to form, a natural progression or the next step. But I see it as the perfect fit. Blending their sounds from each previous album and building upon them to create this one.
But not just the sound of the record is why it's important to the decade but how it was delivered. "In Rainbows" was released on Radiohead's official website months before it was released in stores. But not only was it early, it was free! Or at least to most it was free. Radiohead made a fantastic record and put a tip jar next to it. They came up with a model where fans could name their own price. If you wanted to pay $10 for it, you could, if you wanted to pay $20 for it, you could, or if you wanted to pay nothing for it, well then you could do that too. This was a success for the band and later that year we saw other artist like Nine Inch Nails and Madonna following suit. Could this be the future of music delivery?
Also the band released the single "Nude" as 5 different versions. They released versions with each individual track with just its instrumentation. They did this so their fans could remix their own version of the song. The internet exploded with an enormous amount of remixed versions of "Nude". Radiohead continues to take advantage of all the tools of the internet and their loyal die hard fan base.
Arcade Fire's debut record on Merge Records singlehandedly saved the record label from going out of business (arguably). (Well, this record and Neutral Milk Hotel's "In The Aeroplane Over The Sea" are the 2 best selling records in Merge's history) When this album was released in 2004, it quickly became the Indie scene's best kept secret, and I do contend that this record brought indie rock into the mainstream. Not only did it bring Arcade Fire into the national spotlight but it brought the Indie Canadian scene to the attention of many record companies. In the middle of the decade, practically every popular Indie Rock band came out of Canada (Montreal, namely). With its infectious, drumbeat and scream out loud chorus and piercing strings made every dance floor and college dorm room a breeding ground for smiles and cheers.
The way this record plays, track after track is just so haunting and blissful at the same time. Most songs starting off slow and somber but then breaking away into a frenzy of percussion and strings like as if to break conventional song writing and performance. And still to this day, songs like "Wake Up" are used to illustrate the feeling of pure joy and at times, isolation. (see Spike Jonze's Where The Wild Things Are trailer below.)
This record is very special to me. This was my soundtrack when I first moved to Chicago in 2005. I can't listen to it with out thinking of the Windy City. My first show in Chicago was the Arcade Fire at the Riveria Theater (Is that place still around?). This is also how I started my bond with my dear Borders co-workers. My time in Chicago would have been horrible if it wasn't for them. Goddamn! I do miss Chicago.
This record is a landmark in Indie Rock in the 2000s. A must for any hipster or anyone really. It's that good!
Before they entered the ring for song of the decade with "Hey Ya!" and (obviously) before they release their wildly popular and mainstream record "Speakerboxxx/The Love Below", Outkast released this turn of the century gem. It melds so many genres from funk to rock, disco to soul, techno to jazz. They do this so effortlessly and with such ease and it still remains their edgiest record to date. Full of sex and political sentiment, it is brimming with feelings of youth and energy.
This record will always remind me of going on tour with a local Cleveland Punk/Emo band, The Interns. I set out on an east coast tour with them in 2001. This was our soundtrack (along with Saves The Day's Stay What You Are and The Stereo's Three Hundred). It reminds me of endless driving on endless roads. With the youth and energy we had it seemed fitting. This record is something that I will always love "forever ever....forever ever?....yes, FOREVER."
At first this is a very unassuming record. But then you let it sink in after a few listens. You realize that the things that make this record great are in the details. The details are so intricate and exact, that to take one piece away would make the whole house of cards fall. So much effort has gone into this record and it shows. It masterfully melds electronic percussion with alt. country roots with very creative production design. But when it comes down to it, it's all these sounds and mixes so well with Jeff Tweedy's simple guitar chords progressions and eloquent word play.
One of my favorite songs on this record, "Ashes of American Flags", which harkens to this idea of the lost American dream. "All my lies were only wishes..." This is eerie because of the seminal event that happened only months before its release, September 11th. Even the album cover of the Marina Towers in Chicago resemble the World Trade Center Twin Towers in New York City.
But the reason why this record is regarded so highly, is all in the documentary "I Am Trying To Break Your Heart". This film is about the process of making this record and the battle over it with Wilco's old record label, Warner Bros. It capture the essence and joy of this record, along with the end of Wilco's relationship with one of its primary founders, the late Jay Bennett. This is a must watch and a wonderful supplement to this great record.
For the past few weeks, I've been getting a lot of shit from a number of people after they hear what my #1 record of the decade is (it's all in good fun). I can see why, who the hell really likes The Strokes this much to put them on the top of a list. Their songs are so simple and easy. Julian Casablancas mumbles his way through these songs in such a half-assed manner. Well, you're right! But in a broader sense, you're wrong. "Is This It" started a revolution and a decade of great music.
The stripped down sound and simple drumbeats bring back the essence of Rock N' Roll. This record is pure sex! This record is youth! What Outkast did for hip-hop with "Stankonia" by building and mashing the sounds up, The Strokes did for Rock N' Roll by tearing it down to its core. The record is a wild ride of women, liquor and drugs. "Is This It" is not a question but rather a statement. A statement The Strokes have made on music. Its brash and cocky and I love every minute of it!!
This record also paved the way from many, many New York hipster bands like the Yeah Yeah Yeahs, Interpol and The Rapture. The Strokes made New York City cool again. Boy Bands and Rap Metal were no longer the convention. That party was over. And thank God! Rock N' Roll was back in a big way and this record set the tone for the next 10 years!
Honorable Mention:
Give Up by Postal Service Lie Down In The Light by Bonnie "Prince" Billy College Dropout by Kanye West For Emma, Forever Ago by Bon Iver White Blood Cells by The White Stripes XO by Elliott Smith Oracular Spectacular by MGMT O by Damien Rice Return To Cookie Mountain by TV On The Radio Chutes Too Narrow by The Shins Arular by M.I.A. Veckatimest by Grizzly Bear Turn On The Bright Lights by Interpol
