In the beginning, the ad above my blog searched for keywords in my posts and used those in ascertaining certain materials to sell. Thus, for the longest time, it was selling Marlon Brando posters (for the obituary I wrote up) and "Pride and Prejudice" stuff (for the "Pride and Prejudice" review, natch). These remained unchanged over weeks and weeks eventhough I had posted all sorts of different material since then. I was waiting for a different movie title to appear up there when it finally did change today...to salad dressing. Salad dressing and gas prevention.
That's what I get for talking so much about roughage.
So, in the interests of changing these subjects, may I present your Keyword Kavalcade!
Criterion Collection!
Mystery Science Theater 3000!
Ben Folds Five!
Denis Leary!
Terry Pratchett!
Law & Order!
Fiona Apple!
The West Wing!
Gore Vidal!
and, last but not least, LEGO, LEGO, LEGO, LEGO, LEGO!
Ah, I feel better now.
Wednesday, August 04, 2004
Skippy of the Day: Tom Ridge
No, I'm not talking about the specific terror warning. Enough people are already discussing it and deciding whether or not it's a case of the sky falling. Instead he have a different little number from Tom Ridge. Take it away, Tom! A one and a two:
At the time, this ticked me off and I said as much later on in the car. Mrs. Mosley expressed bewilderment at why this would annoy me so much. The reason was not that he was soliciting for his faith and his church. The reason was not even that he was doing it inside a restaurant. The reason was that he was doing it while in uniform. Even when he's off duty, as long as he wears that uniform he is a representative of the government. Furthermore, unlike such innocuous government positions as clerks and secretaries, he's entrusted with the public's protection.
Now I'm not saying that if I were to argue with him in the restaurant, then he could have possibly reached for his weapon. Nonetheless, the intimidation factor is still there. The officer knew that he would get more attention, and respect, by wearing the uniform while delivering his pitch. That, my friends, is an abuse of power and he was probably smart enough to know that.
Ridge should stick to giving terror warnings (i.e. his job) and that's it. If he thinks that his boss does such a super job, fine. He should say it during his off hours or, at the very least, do it at a campaign event, not at a press conference to announce an elevated terror warning. The last thing an American population paranoid of terror needs to hear from a man in authority over their safety is, "Vote for my Boss...or else!".
"But we must understand that the kind of information available to us today is the result of the President's leadership in the war against terror."--Tom Ridge, 8/1/04First, a digression. There was an incident that happened to Mrs. Mosley and I three years ago when we were still dating. We were eating at a restaurant and a large, well built police officer came over and starting talking very pleasantly to us. The conversation was small talk about how we were such a cute young couple and how it did his heart good to see us happy together. After several minutes of this, he slyly segued into a religious spiel and handed us a Christian tract (A tract that, contrary to his very pleasant demeanor, was pretty much wall-to-wall fire and brimstone).
"We don't do politics in the Department of Homeland Security."--Tom Ridge, 8/3/04
At the time, this ticked me off and I said as much later on in the car. Mrs. Mosley expressed bewilderment at why this would annoy me so much. The reason was not that he was soliciting for his faith and his church. The reason was not even that he was doing it inside a restaurant. The reason was that he was doing it while in uniform. Even when he's off duty, as long as he wears that uniform he is a representative of the government. Furthermore, unlike such innocuous government positions as clerks and secretaries, he's entrusted with the public's protection.
Now I'm not saying that if I were to argue with him in the restaurant, then he could have possibly reached for his weapon. Nonetheless, the intimidation factor is still there. The officer knew that he would get more attention, and respect, by wearing the uniform while delivering his pitch. That, my friends, is an abuse of power and he was probably smart enough to know that.
Ridge should stick to giving terror warnings (i.e. his job) and that's it. If he thinks that his boss does such a super job, fine. He should say it during his off hours or, at the very least, do it at a campaign event, not at a press conference to announce an elevated terror warning. The last thing an American population paranoid of terror needs to hear from a man in authority over their safety is, "Vote for my Boss...or else!".
Tuesday, August 03, 2004
Opening Night
I don't get out to the theaters much anymore. The convenience and economy of home video makes it easier just to stay home. When I was younger, I would usually go out to matinees when the crowds were light and there were perhaps me and two dozen more people in the theater. Both of these are good ways to go these days when moviegoers have gotten ruder and louder.
However, there is something to be said for going at night when the theaters are packed and you can sense all the human beings around you as you watch the film. Some films I have seen really benefit from a large audience. The "South Park" film was one I saw on opening night with a half dozen of my friends. The vibe in the crowd was clearly that of fans of the show, so it was a positive feeling going in. Once the film started with it's "Beauty & the Beast" parody musical number, everyone in the audience was laughing until their cheeks hurt and were certain that the evening would be memorable, and so it was.
There is another capacity-audience anecdote I have that I'm fond of. I saw "A Time to Kill" in a preview screening a week before it was released. Again, the theater was packed, and next to my aisle seat was a married couple in their early forties. At one point in the film, the defense team discusses the director of the local psychiatric hospital whom the prosecutor will be putting on the stand. Through their conversation, they make him out to be a bit of a sleazeball. Not long after this, the scene in the courtroom begins and the audience gets their first look at him. There is a gasp and scattered laughter throughout the theater as they discover it's actor Anthony Heald, easily recognizable by his double dimpled chin and his role as the sleazeball director of a psychiatric hospital in "Silence of the Lambs"! I was laughing along with the couple next to me and the guy leans over and asks:
However, there is something to be said for going at night when the theaters are packed and you can sense all the human beings around you as you watch the film. Some films I have seen really benefit from a large audience. The "South Park" film was one I saw on opening night with a half dozen of my friends. The vibe in the crowd was clearly that of fans of the show, so it was a positive feeling going in. Once the film started with it's "Beauty & the Beast" parody musical number, everyone in the audience was laughing until their cheeks hurt and were certain that the evening would be memorable, and so it was.
There is another capacity-audience anecdote I have that I'm fond of. I saw "A Time to Kill" in a preview screening a week before it was released. Again, the theater was packed, and next to my aisle seat was a married couple in their early forties. At one point in the film, the defense team discusses the director of the local psychiatric hospital whom the prosecutor will be putting on the stand. Through their conversation, they make him out to be a bit of a sleazeball. Not long after this, the scene in the courtroom begins and the audience gets their first look at him. There is a gasp and scattered laughter throughout the theater as they discover it's actor Anthony Heald, easily recognizable by his double dimpled chin and his role as the sleazeball director of a psychiatric hospital in "Silence of the Lambs"! I was laughing along with the couple next to me and the guy leans over and asks:
Guy: "Is that?"And we started laughing all over again. So, I suppose it really comes down to the movie you pick, but the opening night experience still has some merit.
Me: "Silence of the Lambs?"
Guy: "Yeah!"
Monday, August 02, 2004
Skippy of the Day: Dilbert's Boss
The daily meeting at Dilbert's company produced this nice little exchange:
Boss: "We've had a bad year, but management is committed to staying the course."
Dilbert: "Question: Did you just say our leaders are receiving huge compensation packages to keep doing what doesn't work?"
Boss: "No. The way I said it, they're visionaries."
Dilbert: "So...They keep doing what doesn't work...and they see visions?"
There is more to this than just a simple jab at Bush (Or Bushes, really, since they have both beaten that "stay the course" line into the ground during their respective Presidencies). The Republicans have been really big on this "Consistency" issue regarding John Kerry. Their thinking is that the "waffle" monicker worked so well on Clinton, they should use it again.
First off, the Bush administration shouldn't be throwing stones in glass houses. Second of all, there's a big difference between (a) changing your mind due to new evidence and (b) changing it due to the political winds. Unfortunately, an example of (a) is Bill Clinton's push to allow homosexuals into the military. Personally, I loved the thinking behind this: It told Republicans he wanted to stop the legislation of morality in our society and bring more focus on important issues like the economy and health care. The thinking was sound, but the strategy behind it was not. The military, a longtime Republican stronghold, balked at this move and brought their force to bear. In the end, Clinton relented to political pressures, implemented that silly "Don't ask, Don't tell" policy, and the Republicans tasted first blood. The rest is history.
The fact is, Kerry probably does both (a) and (b) at one time or another, as most politicians do. Ideally, you get someone into office who has done more of the former than the later, and I think Kerry fits into that category. Human beings (presumably) have brains in which to think out our problems in order to look at all the facets and possible solutions. The dangerous option is to have someone who states they have a singular vision and that nothing but nothing will change that. If that were exactly what we needed as a country, then we could get a damn computer to do it. And anyone who has watched the old "Star Trek" series knows what happens to civilizations where the computers take charge.
The biggest flip-flop that the Bush commercials keep talking about is the decision to go to war. Some people questioned the whole war rationale for a number of reasons, but Kerry made the call based on evidence that only later turned out to be seriously flawed. I didn't think he was right to do it, but he still did it and he'll have to live with that. Now that he has realized what an error it was (and is now seeing how poorly Bush has run things since the successful initial invasion), he's coming out to say that he was wrong and the war was wrong. Good for him. It would be nice to actually have a president who actually acts humble as well as talks about it.
In the case of the Iraq war, The facts are these: Bush is the one who instigated this war on false pretenses and Kerry is one (of many) who agreed to it based on that evidence.
But if we're talking about waffling, let us not forget the biggest waffle of all, folks. Burn it into your minds before election day:
"The most important thing is for us to find Osama bin Laden. It is our number one priority and we will not rest until we find him."- G.W. Bush, 9/13/01Bush's bigger context for that second quote was that since Bin Laden's chief sponsor (Afghanistan) had been taken care of, he was less of a concern in their view. That is cold comfort for the many families of victims who see that infamous bearded image as the one person responsible for their shattered lives. So much for "Dead or Alive", and so much for closure.
"I don't know where bin Laden is. I have no idea and really don't care. It's not that important. It's not our priority."- G.W. Bush, 3/13/02
Review: "Mishima: A Life in Four Chapters" (1985)
People are awfully cynical when it comes to the meaning of Art. It's a cliche that's been played out in so many sitcoms: The protagonist visits a modern art museum and views a piece alongside some intellectual-looking snob. The snob conveys to the protagonist what the piece is trying to communicate only for the protagonist to chuckle, make a snide remark and walk away. The audience makes a connection, because most people just don't understand that kind of stuff or, more often, truly believe that it's complete bunk.
People with that mindset will not enjoy "Mishima: A Life in Four Chapters". The film concerns the life of Yukio Mishima, who was one of the most respected authors in Japan after World War II. Most people here in the U.S. have probably have never even heard of his name, but here are a pair of names you would recognize: Francis Ford Coppola and George Lucas. These two directors were great admirers of the author, and when they heard about a possible film, they made sure that it was made by helping to produce it.
The film is divided into three portions that cut back and forth between each other: The first, in b&w, focuses on Mishima's last day on earth (November 25, 1970) and the careful preparations he made for it. The second, in color, are flashbacks to important times in his life and his progression from a struggling author to a Japanese star. The third portion is what most people remember from the film. Three of his stories are dramatized in vibrant colors that most people haven't seen since Dorothy wandered into Munchkinland. The comparison is appropriate as these segments are highly stylized and beautiful to look at. Not only are the stories used to give examples of Mishima's work, but they function also as reflections of the author himself.
Director Paul Schrader is most known for the legendary scripts he has written for Martin Scorsese such as "Raging Bull" and "The Last Temptation of Christ". Often in the films he has written and directed, he has dealt with characters that possess emotional hurricanes inside their charismatic exterior, and "Mishima" is no different. As with many artists, Mishima was a conflicted person who was constantly examining his own life and looking for meaning. He thought he could find meaning by merging his art with physical action, which leads to his final day and an event that is still remembered by those Japanese that were around to hear about it.
As I mentioned, the cinematography and art direction is stunning. I actually first learned about this film through seeing clips of it in "Visions of Light", an excellent documentary about the history of cinematography. The clips were so striking and different, I sought out the film very soon after. Seeing these segments in their entirety did not disappoint, and it was a great way to show how artists see their world in unique ways.
Composer Philip Glass has been criticized for being too esoteric in his music (one "South Park" episode made a big joke out of his electronic keyboard fueled songs). Still, with the right film, the music can be very powerful. In "Mishima's" case, it fits like a glove. Some might remember hearing the "Mishima" main theme at the ending of "The Truman Show". Indeed, Glass scored this film as well and decided to reuse this music at the emotional high point of the story.
I highly recommend this film to those who seek a challenge. To all others, you don't know what your missing. You may want to at least check out the three story segments. The images are unforgettable.
Nine out of Ten
People with that mindset will not enjoy "Mishima: A Life in Four Chapters". The film concerns the life of Yukio Mishima, who was one of the most respected authors in Japan after World War II. Most people here in the U.S. have probably have never even heard of his name, but here are a pair of names you would recognize: Francis Ford Coppola and George Lucas. These two directors were great admirers of the author, and when they heard about a possible film, they made sure that it was made by helping to produce it.
The film is divided into three portions that cut back and forth between each other: The first, in b&w, focuses on Mishima's last day on earth (November 25, 1970) and the careful preparations he made for it. The second, in color, are flashbacks to important times in his life and his progression from a struggling author to a Japanese star. The third portion is what most people remember from the film. Three of his stories are dramatized in vibrant colors that most people haven't seen since Dorothy wandered into Munchkinland. The comparison is appropriate as these segments are highly stylized and beautiful to look at. Not only are the stories used to give examples of Mishima's work, but they function also as reflections of the author himself.
Director Paul Schrader is most known for the legendary scripts he has written for Martin Scorsese such as "Raging Bull" and "The Last Temptation of Christ". Often in the films he has written and directed, he has dealt with characters that possess emotional hurricanes inside their charismatic exterior, and "Mishima" is no different. As with many artists, Mishima was a conflicted person who was constantly examining his own life and looking for meaning. He thought he could find meaning by merging his art with physical action, which leads to his final day and an event that is still remembered by those Japanese that were around to hear about it.
As I mentioned, the cinematography and art direction is stunning. I actually first learned about this film through seeing clips of it in "Visions of Light", an excellent documentary about the history of cinematography. The clips were so striking and different, I sought out the film very soon after. Seeing these segments in their entirety did not disappoint, and it was a great way to show how artists see their world in unique ways.
Composer Philip Glass has been criticized for being too esoteric in his music (one "South Park" episode made a big joke out of his electronic keyboard fueled songs). Still, with the right film, the music can be very powerful. In "Mishima's" case, it fits like a glove. Some might remember hearing the "Mishima" main theme at the ending of "The Truman Show". Indeed, Glass scored this film as well and decided to reuse this music at the emotional high point of the story.
I highly recommend this film to those who seek a challenge. To all others, you don't know what your missing. You may want to at least check out the three story segments. The images are unforgettable.
Nine out of Ten
Sunday, August 01, 2004
Yaphet Kotto Quote of the Month: August 2004
Yes, kiddies, Yaphet Kotto can proudly claim that he is one of the select few to play a Bond villian. "Live and Let Die" was the first appearance of Roger Moore in the role, and Yaphet gives as good as he gets:
James Bond: My name is Bond. James Bond.
Mr. Big: Names is for tombstones, baby!
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