Monthly Archives: August 2014
Taking a mini-vacation and so started with a slow wander through a wooded ravine near home.
BoJack-sh!t (a review)
Unless this is a satire about satires, I don’t get the new Netflix Original Series BoJack Horseman.
Ostensibly, the zany life of a washed up sitcom star from the 90s, who also happens to be a horse, who is trying to find meaning in a life of idle emptiness, the show is instead an endless string of really bad puns and lame jokes about anthropomorphic animals and Hollywood, punctuated with long speeches to highlight the irony of a scene or episode.
I am surprised the character giving the speech doesn’t hold up a sign reading “Ironic part” or “Satirical condemnation of status quo” just in case the audience was too stoned to realize that’s what the speech was about.
Episode 3 starts with an establishing shot of a bar called The Pelican. We then cut to BoJack sitting at the bar which is being tended by a…wait for it…pelican. Or in Episode 2, BoJack has a run-in with a Navy Seal who is a…here it comes…actual seal. Oh, and at the apex of humour, whenever BoJack’s girlfriend/agent puts him on hold, he listens to music from Cats…oh, did I mention his girlfriend/agent is a cat? Them’s the animal jokes, my friends.
There are attempts at social commentary, of course. In Episode 3, BoJack’s memoir ghost writer tries to make him feel better about a friend by claiming she was a victim of her circumstances and the pressures of society. But silly BoJack…he misunderstands this to mean that no one is responsible for their actions and that the fault universally lies with society, so he can act like a jerk and it’s not his fault. Silly BoJack.
The voice talent is, well, talented. Alison Brie (Madmen, Community), Aaron Paul (Breaking Bad), Amy Sedaris (Strangers with Candy), Paul F. Thompkins (No You Shut Up!) and Will Arnett (everything else)…these people can act.
Show creator Raphael Bob-Waksberg is a mystery to me. An actor and writer, all I can really find out about him is he a member of a sketch comedy group called Olde English.
And the more I read about him, the more I wonder if my original comment wasn’t dead on…this may just be an amazing meta joke perpetrated by a very funny man. Or it’s just not very good.
Because I only lose 25 minutes of my life at a go, I will continue to watch to see if it gets better…dear God, let it get better…or let me in on the divine joke of this comedy.
Talk about ALS – no bucket, no ice (video)
I’ve been trying to wrap my head around my problem with these ice bucket videos in support of ALS. Something didn’t sit right with me, and yet I felt like a complete jerk crapping on all these lovely people making loving efforts to make a difference.
And then, suddenly, it struck me. Almost none of the video efforts I have seen have included any information about ALS beyond how to spell it. They’ve done a magnificent job of raising money, but I seriously doubt that many people watching these videos have a clue as to what ALS is.
Thus, in support of their efforts and to spread not just awareness but also knowledge, I have produced a short, very homemade video (click below) with terrible production values (as in none).
I hope it helps.
Lessons from bad movies – The Canyons
I believe that you can learn something from every experience you have, and because I am trying to learn more about screenwriting and films, this means watching bad movies. Thus, I was intrigued when I saw Netflix was showing a film called The Canyons.
Written by Bret Easton Ellis (American Psycho) and starring Lindsay Lohan and porn-star-going-legit James Deen, The Canyons shows the decay of Hollywood through the eyes of a struggling young actor who is still in love with his former girlfriend who is now the adornment of an unbalanced but oh-so-controlled producer on a trust fund. Paranoid from birth, the producer eventually learns of rekindled flames between the two and slowly his self-control ebbs. To tell you more would be to spoil the (complete lack of) surprise in this film.
Although the story was straightforward and highly predictable, I have to admit to being confused by one very big thing: I don’t know who the protagonist is. Through whose eyes is the audience supposed to see this story?
Lindsay Lohan’s Tara (the girlfriend) shares almost equal screen time with James Deen’s Christian (producer) and Nolan Gerard Funk’s Ryan (actor), and the story’s perspective seems to shift on a whim. If I go purely by a scale of which character left me feeling least icky in their behaviour, I would have to say Ryan was the protagonist. But he feels more like an unwitting pawn in this film.
Interestingly, however, if I was forced onto a limb, I would actually say Christian was the protagonist despite his antagonist schtick. As a character, he is reminiscent of American Psycho’s Patrick Bateman…possibly his baby brother…although there is no comparison between Christian Bale’s performance and James Deen’s.
Speaking of which, the wooden performances of the actors don’t help my quest for a protagonist. (At her best, Lohan’s glamour-gone-gory Tara was reminiscent of Ann-Margret’s characters in Carnal Knowledge and Tommy at their most strung out.) Without distinct emotive clues and any sense of subtext, I really have no clue what any of the characters hopes to accomplish…there simply aren’t any goals, again with the possible exception of Ryan.
To continue piling on, I would be intrigued to find out what kind of movie director Paul Schrader thought he was making.
On the one hand, with rampant over-use of black & white images of derelict movie houses, it seemed Schrader was going for art-house film, using the photographic decay as a metaphor for the social decay of Hollywood (this is the man who wrote Taxi Driver and directed American Gigolo).
At the same time, his rampant insertion of lengthy scenes of graphic sex gave the film a B-movie, soft-core porn feel. Here, Schrader may have been going for a moral decadence metaphor, but if so, I think he failed terribly. Instead, we were left with a humping morass of buttocks and breasts that a 13-year-old boy couldn’t be bothered to whack off to.
But the one scene that truly grabbed my attention was a lunch conversation between Tara and Christian’s assistant Gina, played by Amanda Brooks. What caught my attention, however, was not the scintillating or captivating dialogue (there wasn’t any) or the repressed subtextual exchanges (they were incapable) but rather the fact that even the camera was unable to pay attention to the scene.
On either close up, the camera angle perpetually slid to the left or the right, and sometimes back again. Not panned to capture a background element. Slid, as if someone had forgotten to tighten the flange that holds the camera to the tripod. The camera literally nodded off.
So then, if this movie was so bad, how could I learn a lesson?
The lesson of The Canyons is that if you can get an actor of sufficient name recognition who is trying to prove something (e.g., I’m not washed up) interested in your script, you can get anything made.
As I looked up some background facts on this movie, I learned that The Canyons was the first film to be largely funded via crowd-sourcing. Given the performance of subsequent crowd-sourced films like Zach Braff’s Wish I Was Here (poor) and Kristen Bell’s Veronica Mars (modest), I am beginning to wonder if there isn’t some merit in studios having some influence on whether and how a film gets made.
the boy in the striped pajamas (2008)
Couldn’t agree more with this analysis.
Man, I gotta stop watching these historical movies. While powerful and amazing, these are really bringing me down.
The latest? The Boy in the Striped Pajamas.
The forbidden friendship between two boys.
This film follows young Bruno (Asa Butterfield), an 8-year-old son with a father at the head of a concentration camp during WW2. As the family gets relocated for the benefit of Bruno’s father, the family suffers, and Bruno, unaware of the situation, initiates a forbidden friendship with a Jewish boy (Bela Fesztbaum) on the other side of the fence.
Bruno and Schultz shaking hands through the fence.
Not going to spoil the end of this movie for you – but I’m just going to let you know… I bawled. Like, literally sobbed. I watched this on Netflix with my parents in the comfort of my own home, and when it ended my mother offered…
View original post 113 more words
Anger after Robin William’s passing
A couple of days have passed since Robin William’s death and although I still cannot accept the truth of it, I have somewhat resigned myself to that truth.
Shortly after the event, as I watched the public response, I found myself getting upset. The following post, written the night of his passing, explains those feelings. If you read on, please read all of the post as I don’t want to hear anyone’s comments unless they have read all that I have to say below.
I’m angry. I’m angry at all of the people who want to turn my grief into some sort of life lesson.
The death of Robin Williams from depression isn’t a parable, it’s not a morality play, it doesn’t serve a purpose; so stop throwing literature and comments about depression and the availability of help at me.
This is a man who made millions laugh. A man who struggled throughout his life with demons and who worked with and around those demons to make beautiful art. A man who had loved ones and raised children.
A man who touched my heart and mind and soul. A man who taught me that it was okay to misbehave, to act out. That to be frenetic could also be to be focused. That you can love and be livid with the world and its people at the same time.
And now that man is gone, and I want to mourn. I want to wallow in my memories of the joy and tears that he brought to my life. I want to remember the man.
I don’t want to rationalize his passing. I don’t want to find meaning in his death. I don’t want to learn a lesson.
I want to grieve, to storm, to wail, to laugh, to love.
But I am not the only one in mourning.
I know the people who post information about depression and mental health, who list hotlines and web sites, are doing that as part of their grieving process. They are doing what they have to do to process Robin’s death.
They are doing what is right for them as I am doing what is right for me. Pain is a self-centred thing.
Perhaps in a day…or two…or ten, I will be able to see their side a little better, but for now, I just want to hurt…and remember…and smile.
In the meantime, forgive me if I snarl.
Having spent a day photographing bugs and other creatures outdoors, I was surprised to find while sweeping the hallway (a surprise unto itself) that I was witness to a battle for life.
Thus, I present the inside insects (arachnids) or in-sects.