Yesterday G2 -The Guardian’s magazine – featured their ‘Icons of the decade’. It was a rather ecclectic (‘weird’ would probably be more accurate) mix: David Beckham, Osama bin Laden,The Obamas, Madeleine McCann, Carrie Bradshaw (the one with the long nose from ‘Sex and the City’ for my male readers), Google, Tony Blair, Jamie Oliver, Harry Potter and, er, Britney Spears. I think the Guardian and I differ on the the definition of an icon. G2 must have literally meant the optic aspect of the word. They obviously chose the most depicted people of the last ten years. Whether they have ‘iconic status’ is a different matter. For me an icon represents an ‘important and enduring symbol’. Whether most of G2’s choices fit into that category I have no idea. But hey, this is ‘citizen journalism’,

so let’s try that again:

Fordiebianco’s 10 icons of the decade.

• Hu Jintao: for turning China into the most powerful nation in the world by skilfully mixing a free economy with an oppressive one party state.
• Helen Clark: for instilling some sorely needed reforms in this ultra-capitalist country and turning it into a diplomatic powerhouse.
• Dick Cheney: for turning Washington D.C. into the ultimate evil empire and getting away with it.
• George W. Bush: for being the moronic posterchild of Dick Cheney’s antics
• Tony Blair: for squandering the good will of an entire nation and not having anything to show for it in the end
• Angela Merkel: for proving that female geeks are better world leaders
• Brian Cox: for proving that you can be cool, sexy and a good communicator with a PhD and a professorship in Physics
• The Williams Sisters: for dominating a white elitist sport for a decade.
• The Obamas: for instilling hope into a frazzled humanity
• Terry Pratchett: for attempting to dissiminate a positive view of humanity and tackling Alzheimer’s in public

A pretty mixed (and depressing) bunch, but then the noughties weren’t a particular ‘good news’ decade. It’s two decisive moments, 9/11 and Copenhagen, will be remembered as the moments when things started to go pear-shaped. It’s hard to be optimistic about the next ten years, but what’s left to do then hope for the better.

So, in the spirit of the season:

Merry bloody Christmas

Brian Cox is now best known for his roles in Hollywood films like MANHUNTER. But he keeps in touch with his stage roots. Here he develops his Shakespeare suzuki method, with a toddler soliloquy from 30 month old Theo.

Two of my favourite videos on the web at the moment – and both from pals!          

First of all, this is a short animation by my friend Cinders McLeod, the brilliant Canadian activist and cartoonist behind “Broomie Law”.  Cinders works for the Globe and Mail in Toronto, and this is one in her series of child-friendly introductions to economics.  It’s charming, and is beautifully voiced by Cinders and her daughter Anya.            

Why You Save: a bedtime story by Cinders McLeod

  

 The second clip isn’t actually a talented, beautiful friend: it’s actually the  talented, handsome son of a talented, beautiful friend!  This is Theo, the son of Clara Glynn, the film maker who directed “The Practicality of Magnolia”.  Here he is with Brian Cox, who also starred in the film.  Isn’t Theo just fantastic!          

           

Brian Cox Masterclass with Theo

  

Just lovely clips!          

         

CLICK HERE TO VIEW

A man’s newly transplanted heart leads him on a dangerous journey to find out who murdered its donor.

Here is a clip from the new BBC series, The Day of the Triffids, and it looks very nice indeed.

The world is struck blind by a solar storm, and millions of man-eating mobile plants are released to roam Britain.

As an expert on the Triffids, Bill Masen knows that salvation rests in the hands of the father he hates, who mutated the Triffids in the first place to produce a green source of oil that the world craves.

Those of you who can watch the first footage be sure to fill us in on what it’s looking like. For the rest of you, just hang tight. We’re all in the same boat here.

It stars Dougray Scott, Joely Richardson, Brian Cox, Vanessa Redgrave, Eddie Izzard and Jason Priestley.

Source: Quiet Earth

Wes Anderson has made a career out of hip irony, and one can picture him completely embracing the imperfections in his quirky stop-motion animation adaptation of Roald Dahl’s The Fantastic Mr. Fox. In some ways, his style suits the film perfectly– after all, a two-dimensional character in a children’s animated film can still have warmth, wit, and heart. The film is perfectly executed within the style, and Anderson’s hand stays steady from beginning to end. However, since Anderson never aims for transcendence, it settles for being a very fun trifle of a film, and while I left the theater smiling, it had the unfortunate circumstance of coming out in the best year in animated film history, so its impact is diminished.

Mr. Fox (George Clooney) got out of the game of stealing chickens from farms long ago. He now has a column which runs in the local newspaper… but he’s tired of being a big fish in a small pond. He desires to move himself, his wife (Meryl Streep), his son Ash (Jason Schwartzman), and his visiting nephew Kristofferson (Eric Anderson) into a giant tree. The problem? That tree overlooks the heavily guarded farms of Boggis, Bunce, and Bean (Michael Gambon), the three meanest and nastiest farmers there ever were. In order to up his status in life, Mr. Fox begins thieving again. Yet in doing so, he unwittingly incurs the wrath of Bean, who will stop at nothing, including digging up the entire valley, in order to find and kill Mr. Fox. It’s a battle of wits, survival, and pride… and with Mr. Bean wearing Mr. Fox’s tail as a necktie, it’s personal.

The film’s visuals, meant to look incredibly stylized and somewhat ramshackle, take a little while to get used to. At first, you’re acutely aware of how low-budget the animation seems, and while Anderson’s love of the charm this look provides shines through from the get-go, as someone spoiled by the films of Nick Park (Chicken Run, Wallace and Gromit) and Henry Selick (The Nightmare Before Christmas, Coraline), I had difficulty buying that Anderson ever wanted us to get lost in the film, instead wanting us to merely sit back, detached in admiration. However, as the film moves forward, and the Alexandre Desplat score and soundtrack full of Wes Anderson-esque song choices sink into your system, the film hits a rhythm that is breezy and fun. Anderson knows the animation is the star and treats us to many long uncut shots of the characters executing long action sequences, further cementing the film’s charm.

At the end of the day, the way the voices deliver the lines both make the film work and limit how high it can soar. Everyone delivers their lines in a cool, clear, but unemotional way, which gives the film a hip attitude that fits its visual style, but since the characters never really seem to have any true commitment other than the savvy Ocean’s 11 ironic demeanor they convey, it’s difficult to fully commit to the story or the characters. While I wanted to see how the story would play out, I can’t say I ever cared for a single character. It’s at once a testament to Anderson’s abilities as a storyteller and his weaknesses as a character builder. I don’t think any of his characters post-Rushmore have ever earned sympathy. Regardless of the characters, it’s still a fun, swift, smooth telling of a great story, with some witty dialogue and visuals. The majority of this review has been spent trying to identify why the film never gets to A+, but trust, the film still passes with flying colors. Fantastic isn’t the first word that comes to mind, but Anderson does deliver a darn good time.

Emmy-award winning Scottish actor, Brian Cox, coaches “Theo” to quote the third soliloquy of The Bard’s Hamlet.  This little kid is very talented (note how he catches the inflections of his drama teacher ….), and woh— those curls!!!!!

p.s.,  What’s not to love about that accent — even if uttered by a child!!

Robin Ince, Brian Cox and Ben Miller discuss quantum physics.

Episode 3

Hundreds of years ago, the majority of the human population believed that brave sailors that ventured too close to the horizon would fall off the face of the earth.  Sometime later, masses of religious crazies hunted down witches under the brilliant deduction that if you threw a supposed witch into a lake, she would float to the top of the water (apparently oblivious to the fact that an “innocent” would presumably sink to the bottom and drown).  Even more recently, prior to the detonation of the A-bomb, many people—some of them incredibly intelligent—feared that the detonation would set the entire atmosphere on fire.

And of course, let’s not forget the horror and peril we were all subject to as 1999 came to a close.  Funny how the phrase Y2K is now laughable, isn’t it?

With all of that being said, let’s now consider the newest item on interest that has many deluded people running for the hills, screaming that the sky is falling and, in turn, swallowing the world whole.  This would be the Large Hadron Collider.

For those not yet in the know, the Large Hadron Collider (LHC) is a 17 mile long circular tunnel located beneath part of Switzerland and France.  If it ever actually fully operates as it is intended, The LHC will allow scientists to study the more elusive fundamentals of matter that have remained a mystery for so long.  The LHC will produce tiny patches of very high energy by colliding atomic particles together at insanely crazy speeds speed…about 99.999% of the speed of light to be exact. Scientists hope to be able to study energy produced in the collisions in order to see what the very high energies that existed early in the evolution of the Universe were like and how they reacted. Collisions in the LHC will have up to 7x the energy of those produced in previous machines, recreating energies and conditions that existed billionths of a second after the start of the Big Bang.

Which leads many folks to wonder what happens if the LHC is a little too powerful?  Slamming particles together at such a speed could theoretically create a black hole.  While sci-fi geeks are rejoicing everywhere at the LHC’s start-up in later October 2009, many others are wondering when the sky is going to start boiling and when the Gates of Hell are going to open up beneath our feet.

The majority of scientists—those involved with the LHC project and those that are not—agree that there is nothing at all to be worried about.  Sure, there is a chance that the LHC could bring about a Roland Emerich-style apocalypse.  But it could also open a portal to a universe dominated by fluffy pink ponies with rabies.  Both scenarios are just as unlikely as the other.  In fact, Brian Cox, renowned physicist (sometimes referred to as “the rock star of physics”…no joking) has gone so far as to say:

Anyone who thinks the LHC will destroy the world is a twat.

Not very scientific, but it gets the point across.

How about you good folks?  Are you excited to see what sort of world-changing scientific information we get from the LHC or are you already holed up in your underground bunker with Ramen noodles and sardines, waiting for the rise of the fluffy pink ponies?

I think the ‘talents’ of the dreadful TWILIGHT films could learn a thing or two about the art of acting from this beautiful 30 month old named Theo.  Here, great actor Brian Cox teaches Theo the fine art of Shakespeare in what is now my favorite YouTube clip in weeks!

The idea that a cultural movement begins or ends with the flip of a calendar is, of course, fallacious. ”60s Music” is an identifier of a specific strain of popular music that really refers to the time period, between 1965 (mid-career Beatles) and 1976 (The Sex Pistols). What we think of as the Golden Era of 70s movies began, arguably, with The Graduate in 1967 (or Who’s Afraid of Virginia Woolf? the year before) and ended with Raging Bull in 1980.

For now anyway, the 2000s can be called The Netflix Decade, a time when, in theory, more movies were more accessible to more people than ever before. That doesn’t necessarily mean everyone took advantage of this opportunity. Still, the idea that a movie, even one from say, Romania about abortion, can have a second life on video is encouraging. If you’re a stickler for lists, consider this the 90 (or so) best movies of the last ten years. What this era in film will ultimately be called is anyone’s guess, but, many films in this list, particularly those made in the US, reflect life in the Age of Terror, where the country was led by a man whose ambition far exceeded his abilities.

4 Months, 3 Weeks, 2 Days – Over the last ten years there has been a rush, in relative terms anyway, of films from countries that were formerly behind the Iron Curtain. The best of these was a heartbreakingly frank film about the moral and practical dilemmas of abortion while Eastern Europe crumbled in the late 1980s. A movie of unflinching honesty. (2007)

8 Mile – Don’t laugh. Yes, Eminem played himself, but great movies put the viewer in a time and place and Curtis Hanson’s impeccable direction gives life to the hopelessness of Eminem’s Detroit ring of despair. The performances of Kim Basinger and Mekhi Phifer are first-rate.  The movie looks even more authentic now that Eminem has faded from the limelight. (2002)

21 Grams – The title refers to the amount of weight we lose after we die. Alejandro Gonzalez Inarritu’s follow-up to Amores Perros brought together a math professor (Sean Penn), a grieving housewife (Naomi Watts) and a re-born convict (Benicio Del Toro). The story isn’t arranged chronologically and the morality of what’s taking place is apparent before the full impact of the plot.

The 25^th Hour – Spike Lee’s least bombastic work. Three men (Edward Norton, Philip Seymour Hoffman and Barry Pepper) one of whom is preparing for a prison stint, re-assess their lives in New York City while terrorist occupied planes still echo in the background. The request made late in the film by Norton will make you gasp, but then nod in agreement with his logic. (2002)

About Schmidt – When Jack Nicholson’s wife dies he decides to rent an RV and drive around trying to avoid the realization that he’s a selfish creep. Alexander Payne’s portrait of aging shines even brighter when compared to the emptiness of another Nicholson film about old age released several years later—The Bucket List. Hope Davis is brilliant as Nicholson’s estranged daughter. (2002)

Almost Famous – The best fictional account of the rock and roll life this side of Spinal Tap. Billy Crudup hits every note as an ambivalent guitar hero. Philip Seymour Hoffman is hysterical as rock critic Lester Bangs. Cameron Crowe’s movie also launched the career of Kate Hudson, who plays a groupie. Don’t hold that against it. The “Tiny Dancer” sequence on the tour bus is sure to put a lump in your throat. (2000)

Amelie  – Jean-Pierre Jeunet’s fable starring Audrey Tautou is certain to become a beloved classic if it hasn’t achieved that status already. Jeunet and Tautou occupy a world that looks much like our own yet is eminently more just, hopeful and full of love. Engaging from any number of perspectives. (2001)

Amores Perros – The three-pronged story about how lives have been irreversibly altered by a car accident can only be described as awe-inspiring. It introduced the world to the massive talents of Alejandro Gonzalez Inarritu, Gael Garcia Bernal and the progenitors of Latin American Cinema. Much as Amores Perros is a child of Pulp Fiction, it is also the father to the acclaimed City of God. (2001)

Away From Her – This tiny movie about a woman (Julie Christie) coming to grips with Alzheimer’s raises challenging questions about the true nature of love, honesty and companionship. That Sarah Polley was only 27 when she directed this counts as a miracle. (2007)

Babel – Whereas Amores Perros’ and 21 Grams’ centerpiece were a singular event, Innaritu’s Babel centers on a singular feeling brought on by a digital, wireless age. It’s one of mutedness. We can speak to more people in more places than ever before, yet we still have no clue what to say. The characters’ eyes tell us everything we need to know about their hollowed-out existences. In Babel, continents are little more than land masses that separate people trying to cope with this new world. Brad Pitt has never been better. (2006)

The Beat That My Heart Skipped – Romain Duris dreams of becoming a concert pianist conflict with his father’s desire that he follow his footsteps into a life of low-level street thuggery. Director Jacques Audiard brings together the disparate physical and emotional universes that Duris occupies. Paris, probably the most-filmed movie locale in the world after New York, is presented in a new, fresh way. (2005)

Before Sunset – Nine years after Ethan Hawke and Julie Delpy fell in love on a single night in Vienna they meet again. Except now they’re in Paris. But time has passed and things have changed. Or have they? A great idea executed to perfection by director Richard Linklater and the two leads. (2004)

Black Hawk Down – Mark Bowden’s searing chronicle of the US Army’s disaster in Somalia. Ridley Scott and a strong ensemble cast capture the frantic efforts of well-intentioned men in one impossible situation after another. (2001)

Bigger Faster Stronger* – A straightforward documentary about steroids and American culture by a first time director and former devotee of the weightlifting/bodybuilding scene. (2008)

Bloody Sunday – Made prior to United 93 and The Bourne movies, Paul Greengrass’ re-creation of the events of January 30, 1972 in Derry, Northern Ireland seethes with anger. (2002)

Borat – Far and away the best comedy in recent years. Although it dutifully serves its  function as a biting social satire, it’s the bar which other comedies strive for: “Yeah, (title) was pretty funny. But it’s no Borat.” (2006)

Bowling for Columbine – With the school shootings still fresh in the public mind Michael Moore’s film about America’s obsession with guns is a tour de force of filmmaking. It’s become the template for countless other issue-driven documentaries, but the original is still the best. Who could forget Moore emerging from a bank, gun in hand as gratitude for opening a new bank account? (2002)

Capote – I tend to resist portrayals of historical figures little more than overwrought imitations, but there are some performances that just throw you back in your seat. Philip Seymour Hoffman’s depiction of the caustic, gifted, tortured Truman Capote is such a performance. (2005)

The Dark Knight – One of the major secular features of Bush Era was rampant self-involvement. Facebook has turned the personal into the global scale. In a landscape where fame goes to those who are willing only to be more extreme than their predecessor, Heath Ledger, as the sadistic Joker tapped perfectly into this pathos while living up to unprecedented pre-release hype. Everything, onscreen and off, about The Dark Knight reflected the culture of entitlement. Mostly though, The Dark Knight delivered on all its promise.  The movie has flaws; Christian Bale’s smoky (or is it gravelly?) voice is an unneeded prop and the stunt make-up of Aaron Eckhart’s character is unnecessary. That said, it performs the near impossible—a summer blockbuster whose story and message stays with you for days, if not weeks. (2008)

Darwin’s Nightmare – A documentary about the perch in Lake Victoria that shows the social and political effects of an ecological nightmare. While An Inconvenient Truth was the environmental movie that bagged the awards and attention, Hubert Sauper’s movie chilled and moved. (2005)

Eastern Promises –  David Cronenberg re-emerged with A History of Violence, but its follow-up was far more entertaining. Naomi Watts’ London midwife stumbles across the Russian mob, as personified by Viggo Mortensen, cultures clash, mayhem ensues–including a grisly fight in a steam bath. (2007)

Edge of Heaven – The best movies of the decade made outside the US addressed the blurring of boundaries among class, race, ethnicity or sexuality. Fatih Akin’s film about a German Turk who moves to Istanbul in order to find his half-sister makes you wonder if maybe boundaries aren’t such a bad thing. (2008)

Elephant – Gus Van Sant’s take on school violence is haunting. The impending carnage looms over the characters to such a degree that, as an audience member, you want to shake them by the shoulders and tell them to run before the bullets start flying. (2003)

Enron: The Smartest Guys in the Room – The best of its type. A traditional talking-heads documentary that harnesses the national outrage of the Enron collapse and the subsequent dominoes that fell. Names are named and we’re given plenty of reason to hold those mentioned in absolute contempt. (2005)

Eternal Sunshine of the Spotless Mind – I resisted this as too gimmicky at first and I don’t buy Jim Carrey doing anything serious, but on a second viewing it struck me as a thoughtful consideration of how memory relates to romantic longing, especially considering it’s a major studio release. The rare instance of  when a blend of a potentially toxic mix of artists–Carrey, Kate Winslet, Michel Gondry and Charlie Kaufman results in a coherent final product.  (2004)

The Fall – A suicidal stunt man, an eight year old Eastern European immigrant girl who speaks accented English, Charles Darwin, Alexander the Great and many, many others people populate Tarsem Singh’s follow up to The Cell. Reportedly made without CGI, it’s unlike any film ever made. (2008)

Finding Nemo – A father clown fish loses track of his son clown fish. In desperate need of help in finding him, he is assisted by a pang fish with short-term memory. That the movie somehow takes a parent’s worst nightmare and turns it into something cute is a testament to its many charms. Edged Ratatouille and Up for a spot behind WALL-E on this list. (2003)

Garden State – While it’s easy to dismiss the movie as a tool for Zach Braff’s navel-gazing, Garden State appealed to people of a certain age, pre mid-life, who wondered, “What’s it all for?” It owes massive debts to The Graduate and the work of Wes Anderson but it’s a movie of and about its time. (2004)

George Washington – David Gordon Green’s somber sketch on poor black children in North Carolina plays like a Miles Davis number. The movie is all mood, but by the end, you feel like you know the kids in this movie intimately. (2000)

Gone Baby Gone – This may be a blasphemy in some quarters, but Ben Affleck’s directorial debut does Clint Eastwood better than Eastwood himself. It confronts many of the same issues as Million Dollar Baby and Mystic River the difference is the performance of Amy Ryan, as the world’s worst mother. (2007)

Good Night and Good Luck – George Clooney’s paean to an era gone by was meant to be a body blow to the modern media, where rumor and innuendo flourish. More than David Straitharn’s uncanny impersonation of Edward R Murrow, most the high points are the elegant singing of Dianne Reeves that served as a bridge scenes of increasing tension. (2005)

Goodbye Solo – Souleymane Sy Savane is  Solo, a Senegalese cab-driver in Winston-Salem, North Carolina (the Tar Heel State is a new hot spot for American Indie Cinema). He picks up a weary, southern man who asks that a few days from now Solo take him to Blowing Rock National Park, no questions asked. Ramin Bahrani’s movie is so loaded with symbolism it’s easy to overlook what an assured, confident piece of filmmaking it is. If there’s any justice, Savane will pick up an Oscar nomination this year. (2009)

Happy-Go-Lucky – How far does attitude go in life? At first glance Sally Hawkins’ Poppy is gratingly optimistic, but as Mike Leigh’s small masterpiece unfolds we see that Poppy is far more sophisticated than we’ve given her credit for. Furthermore, I can think of no film of this or an era that so lovingly presents a friendship between two women—Hawkins and Alexis Zegerman. They’re co-workers and have each other’s backs in ways that the girls from Sex and the City would never understand. (2008)

The House of Flying Daggers  – Crouching Tiger Hidden Dragon set a standard that Zhang Yimou’s exhilarating epic set in the Tang Dynasty surpassed. That’s Ninth Century kids. Two police officers, with differing motives, force a gorgeous dancer to go undercover and infiltrate The House of Flying Daggers, a group of militants who steal from the rich and give to the poor. There’s a sequence where…ok forget that, watch it and you’ll instantly recognize why this movie is on a “Best of” list. (2004)

In America – After WALL-E this was the movie that stole my heart. Jim Sheridan directed a script he wrote with his daughters about a family a lot like their own. It’s the magical story of a family overcoming the loss of the youngest child through great sacrifice and a move to Hell’s Kitchen. Sarah and Emma Bolger, who play the precocious daughters, will steal your heart too. (2003)

In the Bedroom  – Tom Wilkinson and Sissy Spacek have a son (Nick Stahl) who gets involved with an older woman (Marisa Tomei) estranged from her husband. When Stahl gets killed by the husband in a jealous fit Wilkinson must face his own thoughts of revenge in this wrenching drama directed by Todd Field. (2001)

In the Mood for Love – It’s 1962 Hong Kong and Tony Leung and Maggie Cheung are neighbors who suspect their spouses of infidelity. Wong Kar-Wai’s film is in the grand tradition of a love story set against a society in upheaval, but simmers with a lust and eroticism all its own. Runner-up to Y Tu Mama Tambien for sexiest film of the decade. (2001)

In the Valley of Elah  – When Tommy Lee Jones’ son goes missing shortly after returning from a tour in Iraq, he sets out to find him. In the course of his quest he’s aided by Charlize Theron and the movie becomes a layered treatise about the war in Iraq, the military and family. In his best roles, Jones face says far more than any word could and that’s certainly the case in this movie, which takes its title from the site of David’s biblical battle with Goliath. (2007)

Into the Wild  – After graduating from Emory University in Atlanta, Chris McCandless, the child of well-to-do parents, gave away all his possessions and hitchhiked across America en route To Alaska. A wonderful companion to Jon Krakauer’s elegiac account of McCandless, Sean Penn’s movie brings together sweeping natural panoramas, marvelous supporting characters (Hal Holbrook especially) and a pitch-perfect score from Eddie Vedder. (2007)

Junebug – So many films about the clash between urban and rural ways of life resort to easy stereotypes, but Phil Morrison’s movie strikes just the right tone. Now living in Chicago, a son brings his art gallery-owning wife (the stunning Embeth Davidtz) to meet his parents in rural North Carolina. He re-acquaints himself with his brother whose wife (played by Amy Adams in the breakthrough performance of the decade) is pregnant. New conflicts arise as old wounds are re-opened. Celia Weston is delightful as the family matriarch. (2005)

Katyn – The legendary director Andrzej Wajda may have made his best film in his 80’s. It’s the heretofore untold story of the slaughter of thousands of Polish soldiers at the beginning of World War II by the Russian Red Army. Wajda focusses on how the Russians lies about the massacre left a permanent stain on the Polish psyche. The final twenty minutes of Katyn put your heart in your throat. (2008)

Kontroll  – Nimrod Antal’s film about life in the Budapest subway system defies easy description. Every scene and piece of dialogue seems loaded with literal and metaphorical interpretations. And the metaphor can apply just as easily to the main characters as to life in Hungary after the fall of the Soviet Empire. (2005)

 Lilya 4-ever – Abandoned by her mother, 16 year-old Lilya must fend for herself in bleak, gray Estonia. She meets a young man different from the abusive thugs in her neighborhood. He is kind to her and promises to pull her out of her dire circumstances. Hopeful and desperate, she trusts him. Thinking they will run off to a slice of heaven, Lilya is instead lowered into a kind of Hell that can only be borne from the minds of the truly evil. Lukas Moodyson’s film muscles its way into the pit of your stomach and stays there for days.

Little Children  – The decade’s best movie about suburban dystopia and arguably Kate Winslet’s best performance. She plays an educated mother whose marriage is passionless. She begins an affair with Patrick Wilson –The Prom King, as he’s dubbed by the neighborhood mothers—whose marriage is  deteriorating while he attempts to pas the bar exam. Most memorable, however, is Jackie Earle Haley, a sex offender trying to start a new life while under the watchful eye of self-appointed moralist. (2006)

The Lives of Others – An engrossing film about the horrors of life on the front lines of the Cold War. Ulrich Muhe is a member of the Stasi in 1984 who listens in on the conversations of a playwright and his lover. His own life being one of boredom he becomes increasingly engrossed in those of his subject. Florian Heckel von Donnersmarck crafted a film of personal destruction while addressing contemporary issues of privacy in a time of unparalleled freedom. (2006)

The Lord of the Rings Trilogy – It will be hard to explain to future generations the impact that this series of films had on a populace put on perpetual edge in the age of terrorism. Thousands of people lined up to watch the entire trilogy, nine hours in total. It did not take much imagination to see the similarities between Peter Jackson’s sprawling epics and the state of world affairs. The stories of honor, mysticism, fellowship and duty in the face of an indefatigable enemy bent on an engineering an apocalypse resonated with millions of people who had never even heard of JRR Tolkien. (2001-2003)

Memento  – How Christopher Nolan began the decade. The taut Guy Pearce is covered from head to toe with tattoos. He’s also written himself hundreds of notes. The ink on both the paper and his skin is critical because he has no short term memory. In normal circumstances this would be quite the conundrum, but it’s worse because Pearce’s wife has been murdered and he’s trying to figure if he did it or if someone else did. Memento was that rare, visceral movie that left the audience in their seats after the house lights came up, catching their collective breaths. (2001)

Michael Clayton  – Where Good Night and Good Luck was a clarion call to a lazy media elite, George Clooney got back in front of the camera in this tightly written drama about corporate malfeasance. He’s a fixer who keeps small problems from becoming big ones. He must prevent an old friend gone crazy (a manic Tom Wilkinson) from jeopardizing a billion-dollar project while keeping the company lawyer (a scathing Tilda Swinton) at bay. Tony Gilroy’s movie recalls 70s classics like The Parallax View and Three Days of the Condor. (2007)

Minority Report - The back end (after Artificial Intelligence: AI) of a Steven Spielberg double-dip on the dire possibilities of the near future, blisters with energy. Tom Cruise plays a pre-crime officer—criminals are arrested before they commit their crimes—who finds himself caught up in agency politics that have far-reaching implications. Watch it again just to see how prescient it is, based on a Philip K. Dick novel. (2002)

Monster’s Ball  – An extremely graphic sex scene featuring Halle Berry and Billy Bob Thornton (ick) generated buzz, but Marc Forster’s depiction of troubled lives in the south is harrowing. Heath Ledger, Sean Combs and Peter Boyle are excellent in support of Berry’s raw performance. (2001)

The Motorcycle Diaries – Before he became a face on a t-shirt, Ernesto Guevera was called “Fuser” by his friends. As a student, he and a buddy traveled through South America on a beat up Norton 500. Gael Garcia Bernal is Che in Walter Salles’ exquisite travelogue about idealism colliding with reality. The Machu Picchu sequence is breathtaking. (2004)

Moulin Rouge! – Unapologetically over the top, Baz Luhrman’s was the best musical of the past ten years. A courtesan (Nicole Kidman) falls in love with a would-be poet (Ewan McGregor) much to the chagrin of a duke. This triangle is resolved in a splash of song, color and double-entendres. Jim Broadbent won an Oscar the following year in Iris, but he deserved it for his role as the ringmaster here. (2001)

The New World – Terrence Malick’s lyrical, contemplative rendering of the affair between John Smith (Colin Farrell) and Pocahantas sweeps you up and carries you off to a place that only he seems to be able to construct. When the duties of colonization become too much, the stability of their relationship is threatened. (2005)

The Notebook – The moment you say, “Oh, come on! That would never happen!” you’ve missed the point. Every character in the movie is of a type and that very broadness is what makes the film such a timeless love story. (2004)

No Country for Old Men – Javier Bardem’s Anton Chigurh immediately joined the pantheon of cinematic psychos but Tommy Lee Jones is outstanding as sheriff trying to make sense of killer whose weapon of choice is a cattle prong. Josh Brolin is up to Jones’ lofty standards as Chigurh’s main target. Kelly MacDonald turns a potentially forgettable role as Brolin’s wife into the moral center of the film. While the movie may have caught fans of the Coen Brothers off-guard, it fits nicely in the canon of the makers of Miller’s Crossing, Fargo and Blood Simple. (2007)

Once  – Set in modern day Dublin, Glen Hansard is a Hoover repair man and Marketa Irglova is an immigrant caring for her mother and daughter. They are both amateur musicians and gradually they write songs together that reflect their growing feelings for each other. A small treasure. (2007)

Pan’s Labyrinth – In order to escape her sadistic stepfather in Franco’s Spain, a ten year-old girl imagines a secret world where she must perform three tasks to prove that she is, in fact, a princess. Fashioned by Guillermo Del Toro, who spent the decade creating worlds that exist just beyond the reach of our own. (2006)

Requiem for a Dream — Four disparate characters succumb to drug abuse. Most frightening in Darren Aronofsky’s film is the descent into madness of a woman collecting social security played by Ellen Burstyn. Far from a lecture, the movie shows in explicit detail how different people become addicted for different reasons.  (2000)

Sideways - In celebration of his philandering pal’s upcoming nuptials, Paul Giamatti takes him on a tour of California wine country. Like any good road movie, Alexander Payne’s film contrives one scenario after another in order to reveal something about the characters. What made Sideways different was the intensity of Giamatti’s portrayal of a man consumed by his own self-loathing. (2004)

The Station Agent – A thoughtful independent film from Thomas McCarthy about a dwarf (Peter Dinklage) who inherits an abandoned train station after his best friend dies. He’s subsequently harangued into friendship by a chatty hot dog vendor (Bobby Cannavale). The unlikely friends then encounter a woman (Patricia Clarkson) who is in mourning. Well-deserving of the many awards it picked up on the festival circuit. (2003)

Taxi to the Dark Side – Of the many righteously indignant documentaries criticizing the Bush Administration Alex Gibney’s was the best. It’s the story of an innocent Afghan cab driver who was tortured and killed while in US custody. He’s not a casualty of the madness of war, but rather, the victim of carefully vetted policy.  (2007)

There Will Be Blood  – P. T. Anderson’s sprawling epic of greed, oil and religion has a problematic ending but who could forget the opening scene, where Daniel Day-Lewis as Daniel Plainview, without saying a word, grunts his way into our psyche. He plunges one hole after another into the ground through the force of his personality, creating to a fortune but and future that will, most certainly, be bloody. An instant American classic. (2007)

Traffic  – The War on Drugs from the peripatetic camera of Steven Soderbergh. In his most complete film, he inspects many, if not all, aspects of the struggle and concludes that the effort has been a colossal failure. Sturdy performances by Benicio Del Toro, Dennis Quaid, Don Cheadle and Michael Douglas anchor a somewhat chaotic enterprise. (2000)

Waking Life – Richard Linklater’s mind-massaging meditation on truth, reality, dreams and just about everything else washes over you like a hot shower. The fact that it merges animates live action characters pushes it to the stuff of legend. An exponentially better “alternative reality” film than Mulholland Drive. (2001)

WALL-E – The other major secular strain brought on by the reign of error that was the Bush presidency was conspicuous consumption. Remember that he suggested we go shopping in the weeks after planes were crashed into the financial and political capitols of the country. And we did. Boy did we spend. The magicians at Pixar presented the down side of this approach to calming our collective nerves, while telling a tender love story. If you didn’t go “awwwww” at least once while watching WALL-E may God have mercy on your soul. (2008)

Waltz With Bashir  – Perhaps the first and last of its kind. An animated documentary about an Israeli soldier’s memories of a battle that occurred some twenty years earlier. Ari Folman’s autobiographical story of The Lebanese War had the unique distinction of reminding you of several other films while still being thoroughly original. (2008)

Y Tu Mama Tambien – The sexiest movie of the decade. Maribel Verdu joins Gael Garcia Bernal and Diego Luna on a road trip from Mexico City to a mysterious beach with no strings attached. Much steaminess follows. (2002)

You Can Count on Me  – Before starring in Kenneth Lonergan’s movie Laura Linney and Mark Ruffalo had minor roles in minor movies. They play a brother and sister who are connected by a tragic event from their past. Each day is a struggle as they to overcome their flaws and make something out of their shiftless lives. Linney was nominated for an Oscar as a single mother trying to build a life out of perpetual setbacks. The soundtrack features several songs from Steve Earle, who knows a thing or two about turmoil. (2000)

Zodiac  – David Fincher’s story of the serial killer that spooked the Bay Area in the 1970s. Jake Gyllenhaal is a newspaper cartoonist who starts out trying to decode the murderer’s cryptic messages and ends up more obsessed with finding the killer than the police officer (Mark Ruffalo) assigned to the case. Fincher gets the grisliness out of the way early and delivers an unsparing crime procedural; the inclusion of Donovan’s Hurdy Gurdy Man on the soundtrack is inspired. (2007)

They barely missed the cut: High Fidelity, Oldboy, Adaptation and Up

Best Releases Three or Four Decades Late

Army of Shadows – Jean-Pierre Melville’s classic of The French Resistance, released in Europe in the late 1960s made going underground heroic and cool. It ushered in a much-deserved reassessment of Melville’s place in The French New Wave. (2006)

Killer of Sheep – the life of a Los Angeles slaughterhouse worker in black and white with one of the best scores in film history. Charles Burnett’s film sat in a vault at UCLA for 30 years until it was released on video by Milestone/New Yorker Video. (2007)

Underrated, Forgotten or Worth a Second Look

24-Hour Party People – Steve Coogan nails it as the riotously self-possessed Tony Wilson, the television host who sired the Manchester music scene in the late 1970s. Michael Winterbottom adeptly recalls a flowering cultural moment that was both depressing and inspirational. (2002)

The Bridge – Eric Steel’s documentary about why the Golden Gate Bridge has become Ground Zero for suicides. More than that though, it’s about those left behind and trying to make sense of the profoundly tragic. (2006)

The Cell – The acting isn’t much (Jennifer Lopez playing a psychologist and Vince Vaughn playing it straight) and the plot machinations are absurd but Tarsem Singh’s movie about the subconscious of a serial killer is loaded with visual explosions from start to finish. (2000)

The Claim – When you sell off your wife and baby daughter for a gold mine it’s just a matter of time before it comes back to bite you, even in the pre-Information Age. There’s no escaping karma on that one. Michael Winterbottom’s version of Thomas Hardy’s The Mayor of Casterbridge is unforgettable. The icy turn-of-the-century Canadian landscape is the ideal backdrop for this morality tale. (2000)

The Dish – What role did Australia play in the first moon landing? Well, the country put up a satellite interface in a remote desert. Sam Neill plays one of the technicians who helps the locals prepare for and cope with their day in the, uhh, sun. Patrick Warburton is winning as the American liaison. (2001)

Everything is Illuminated – The movie based on what might be the best novel of the decade barely registered at the box office. Eugene Hutz steals the movie as Elijah Wood’s linguistically-challenged guide and Liev Schreiber’s debut behind the camera is extremely faithful to Jonathan Safran Foer’s source material. (2005)

Heaven – It came and went in the blink of an eye, but Cate Blanchett is a bald vigilante aided and abetted by police-officer Giovanni Ribisi. Impossible to categorize as an action pic for the art house crowd (or is it vice versa?), Tom Tykwer’s movie merits another consideration. (2002)

Idiocracy – Mike Judge’s futuristic comedy about what happens to a society that spends decades rewarding impulse and hubris over intellect and honesty. Sound familiar? (2005)

The Illusionist – In pre-World War I Vienna Edward Norton plays a magician who astonishes and taunts royalty (Rufus Sewell) and law enforcement (Paul Giamatti). It was overshadowed by The Prestige which was released the same year, but it is better shot, better acted and without the cop-out ending of Christopher Nolan’s film. (2006)

Innocence – After his wife dies a man looks up his lost love from over forty years ago. She has married and is living a comfortable life. Now in their 70s, they try to pick up where they left off. Paul Cox’s film of hope, death, loss, regret and risk tugs at your heart and never lets go. (2001)

Last Orders – A London butcher (Michael Caine) instructed his best friends (Tom Courtenay, David Hemmings and Bob Hoskins) to throw his ashes into the water at Margate beach. His son (Ray Winstone) joins them as they make the journey, recollecting about what was and what might have been. The type of small, touching film that big stars don’t seem to make anymore. (2001)

LIE – Paul Dano, in a pre-There Will Be Blood role plays a teenager who sits on a bridge above the Long Island Expressway. He has nothing, so when a dubious character, the slimy Brian Cox, offers him some semblance of normalcy, he takes it. (2001)

Made – Jon Favreau’s comedy is a follow up to Swingers which again features him and Vince Vaughan. This time they’re playing wanna-be mafiosos hired by Peter Falk to cut a deal with Sean Combs. The repoire of the castcast is terrific and the movie is even funnier with the audio commentary on (by Favreau and Vaughn). (2001)

Our Daily Bread – A dialogue-free documentary about the mechanized, industrialized nature of food production. Make sure you eat before viewing. (2006)

The Proposition – Set in late 19^th century Australia, the underappreciated Ray Winstone is magnetic as a frontier lawman determined to bring peace to his town. A group of four brothers has terrorized the locals and Winstone urges two of them to turn in the oldest, who is the ringleader. This sounds like a traditional Western but Nick Cave’s bloody and depraved script is accompanied by a setting that invites comparisons to Antonioni. (2006)

Reign Over Me – Almost all of Adam Sandler’s comedic characters are emotionally-stunted man-boys. His character in Mike Binder’s film is also a shell of a man, mumbling his way around New York City on a scooter, donning headphones to keep the outside world away. Don Cheadle is his usual superb self playing a dentist, trying to find out what’s gone wrong with Sandler, his old college roommate. In the course of reaching out to Sandler, Cheadle must face problems in his own life. (2007)

Sweet Land – In 1920s Minnesota a beautiful German woman arrives to marry a Norwegian farmer. He speaks little English and she speaks none. This is the least of their troubles as her ethnicity, in light of World War I, gives the rest of the community pause. Ali Selim’s feature debut is quiet, elegant and assured. (2006)

The Widow of St. Pierre – Patrice Leconte’s tale of redemption set in the (then) French colony of Newfoundland in the 1850s. Emir Kusterica plays a drunk sentenced to death for a murder. But time passes before the guillotine can arrive from France. Slowly, the community, represented by Juliette Binoche and Daniel Auteuil, comes to see the murderer in a different light. (2001)

The Yards – James Gray’s story of corruption in the Queens rail yards was unjustly ignored by audiences on its release. Perhaps it was because the star, Mark Wahlberg, was an unproven quantity as a dramatic actor (Ok, some might say he still is), but he more than holds his own among James Caan, Ellen Burstyn, Faye Dunaway, Charlize Theron and Joaquin Phoenix. (2000)

A Double Feature About Women Living on the Margins

Frozen River and Wendy and Lucy -  Melisso Leo and Michelle Williams try to save their son and dog, respectively, while staring some hard truths in the face. (Both released in 2008)

Actors of the Decade—Gael Garcia Bernal and Philip Seymour Hoffman

Actresses of the Decade – Cate Blanchett, Laura Linney and Kate Winslet

Directors of the Decade – Alejandro Gonzalez Inarritu and Christopher Nolan

Overrated

Brokeback Mountain – A movie more concerned with its message than advancing the story in a cinematic way. The script is clunky (saved by Heath Ledger’s performance) and for a movie intended to bust stereotypes, it’s comprised of supporting characters who are exactly that.

Knocked Up – Where The 40-Year-Old Virgin was a sweet, bromance about the complexities of dating, this was self-indulgent. A stoner who lives with other porn-living potheads hooks up with a successful television producer? That’s a shaky premise to begin with and impossible to ignore whenever the two leads start talking about child rearing. Why weren’t women insulted by this movie?

Lost in Translation – Bill Murray and Scarlett Johansson are displaced Americans in Tokyo. It’s a Jim Jarmusch movie done by Sofia Coppola. One Jarmusch is plenty thank you very much.

Mulholland Drive – What’s this movie about? No, really somebody tell me.

Movie that’s aged the worst – Crash. Only five years old and the tale of race and circumstance in Los Angeles already feels quaint.

And what of Wes Anderson? – His four films (three live-action and one animated) are entertaining, but they’re all riffs on a similar theme—highly stylized portraits of fractured families done to great soundtracks. They all made my best of the year list when released, but Anderson, so far anyway, has been content to have his characters talk about their struggles rather than show them.

Television (Still a vast wasteland)

The conversation begins and ends with The Wire. If you haven’t seen it you have deprived yourself of storytelling on par with Charles Dickens, but more visual. There’s no point in spilling more cyber-ink on it as countless others have extolled its virtues. So watch it. Now. You’re welcome.

The two best documentaries of the past ten years originally aired on television. Martin Scorsese’s No Direction Home revealed every available side of Bob Dylan including a few that Mr. Zimmerman would rather have kept under wraps. Scorsese seemed to talk to everyone who ever had anything to do with Dylan.

The other great doc was Spike Lee’s agonizing, thorough, poetic story of the debacle and failure of our government’s response to Hurricane Katrina. It’s not hyperbolic to call When the Levees Broke: A Requiem in Four Acts an act of public service.

OK…if I must choose…a baker’s dozen…(I actually already tipped my hand above by adding a clip after the summary)

WALL-E, Amelie, The Dark Knight, Memento, Amores Perros, In America, The Lord of the Rings Trilogy, Moulin Rouge! There Will Be Blood, The Lives of Others, Waking Life, You Can Count on Me and Lilya 4-ever.

There are many, many reasons to love actor Brian Cox: pioneering the role of Hannibal Lecter in Manhunter; expelling Max Fischer, as Dr. Guggenheim, in Rushmore; swallowing his pride to play Captain O’Hagan in Super Troopers; spitting profanity like champ in his role as Robert McKee in Adaptation; portraying one of the best fathers in the history of cinema in 25th Hour. He’s been one of my favorites for years – but this video gives me one more reason to think he’s aces.

*****

Current listening:

The Flaming Lips – The Soft Bulletin (1999)

Last movie seen:

Precious (2009; Lee Daniels, dir.)

Actor Brian Cox gives an acting masterclass on Hamlet’s “To be, or not to be” soliloquy to a young student…

Warren Ellis is the writer behind many great comic books (Transmetropolitan, Black Summer, Freak Angels, NextWave, The Authority, Global Frequency, Gravel, and many more) including the mini-series Red with Cully Hamner.

It is a great little read and the plot goes like this:

Paul Moses is a retired Agent of the CIA, formerly working in “foreign acquisitions”. Living in a secluded area, his human contacts are limited to pleasant phone calls to his handler (who desires what she believes to have been Moses’ type of work) and letters to his niece that lives in England.

Michael Beesley, the newly politically appointed Director of the CIA, is taken to Room R as part of his initiation, where he learns of Moses’ existence and the full extent of his activities. Disgusted by what he has seen, and fearing public reaction should any of those secrets leak out, he orders the assassination of Moses.

A three man hit-team is sent to Moses’ residence, and he kills them, recognizing the pattern of the attack and realizing his death has been sanctioned. He calls his handler only to learn that she has been transferred. He informs the Agency that his status has changed from Green to Red before leaving his house and going on the hunt.

As previously reported it is being turned into a film and so far all we know is that Bruce Willis will play the lead and many other big names are involved.

Not surprisingly it will be a bit different to the source material. Now Warren Ellis has had a look at the script and posted his thoughts on the changes that have had to be made. Basically, I don’t think we need to be worried too much. Here’s what he had to say about it:

RED, the book, is 66 pages long. If you were to film 66 pages of comics, you might, might just about get 40 minutes of film out of it. If you added a musical number. The comics-page to film-minute ratio is pretty bad. A straight adaptation of a 150-page graphic novel might, if you squint at it, get you a 100-minute film. But it’s unlikely, because comics and films use time so differently.

It is in fact best to consider RED as a short story being adapted into film.

The mini-series reads very much like a prologue to a much bigger story so this should work out quite well. This also means that there will have to be a lot more characters than a handful in the comic book.

The new characters are all in theme, all in the same line of work as (Paul in the book, Frank in the film) Moses. The theme being, in part (and also poked at in my other books GLOBAL FREQUENCY and RELOAD) the unexploded bombs of the 20th Century.

I don’t think any of them are bad. Also, did you see the goddamn cast list that’s signed on for those characters? Bruce Willis as Moses, yes. But also: Morgan Freeman, Mary-Louise Parker, John C Reilly, Helen Mirren, Julian McMahon, Brian Cox, Ernest Borgnine and Richard Dreyfus. It reminds me a bit of those 70s films like THE TOWERING INFERNO, that had in them everyone you wanted to see in a film, all at once. RED is a bit like that, only with more automatic weapons.

What does Ellis think about the actual film itself?

The film isn’t as grim as the book. The book is pretty grim. But it’s also pretty small. When I sell the rights to a book, they buy the right to adapt it in whatever way they see fit. I can accept that they wanted a lighter film, and, as I’ve said before, the script is very enjoyable and tight as a drum. They haven’t adapted it badly, by any means. People who’ve enjoyed the graphic novel will have to accept that it’s an adaptation and that by definition means that it’s going to be a different beast from the book. The film has the same DNA. It retains bits that are very clearly from the book, as well as, of course, the overall plotline. But it is, yes, lighter, and funnier. And if anyone has a real problem with that, I say to you once again:

Helen Mirren with a sniper rifle.

I mean, if you don’t want to see a film with Helen Mirren with a sniper rifle, I’m not sure I want to know you.

Works for me. Are you looking forward to the adaption?

Robin Ince, Brian Cox, Jon Ronson and Seth Shostack examine science conspiracies.

Episode 2

According to this Christmas will be cancelled, The Master will be all Electro Hoodie and Brian Cox is an Ood. Fantastic.

CLICK HERE TO VIEW

Based on the bestselling memoir by Augusten Burroughs, RUNNING WITH SCISSORS features an all-star cast including Annette Bening, Brian Cox, Evan Rachel Wood, Gwyneth Paltrow, and Alec Baldwin. As a… Based on the bestselling memoir by Augusten Burroughs, RUNNING WITH SCISSORS features an all-star cast including Annette Bening, Brian Cox, Evan Rachel Wood, Gwyneth Paltrow, and Alec Baldwin. As a child, Augusten (Joseph Cross) completely adores his narcissistic mother Deirdre (Bening). Her biggest fan, he encourages her goal of becoming a published poet when no one else will. But while these dreams of grandeur seem innocent through Augusten’s young eyes, they grow more delusional with time, slowly wearing on the family and contributing to its demise. While a teenage Augusten skips school and his father Norman (Alec Baldwin) uses alcohol to escape, Deirdre calls in an eccentric psychiatrist for an outside opinion. Dr. Finch’s advice ends up being anything but professional, however, as his looseness with prescriptions and wacko theories end Deirdre’s dysfunctional marriage and prompt her to abandon Augusten. Left to spend his teenage years as part of Dr. Finch’s outlandish family, Augusten struggles to find himself while surrounded by a series of tormented and over-analyzed individuals. Director Ryan Murphy relies heavily on music to express the emotions of his characters and to ground viewers in time, bringing the memoir to life with classic 1970s songs by Elton John, the Average White Band, and Nat King Cole. Seemingly modeled visually after Wes Anderson’s THE ROYAL TENENBAUMS, the film revolves around intricately over-the-top sets which aim to reflect the neuroses of its characters. In making most of the film as dramatic as possible, Murphy sometimes threatens to overshadow what are undeniably fine actors at work. The film’s saving grace comes in its non-fiction source material, as viewers without that knowledge may find the characters too peculiar and the story too unbelievable for their own good.

The Doctor as David Tennant is coming to the end of his journey. The End of Time is showing in the UK on Christmas day.

Now the cast list for the two parter is out on imdb (so it may not be totally correct) and it makes for some interesting reading. Spoilers ahoy!

John Barrowman (Captain Jack)
Brian Cox (The Elder of the Ood)
Timothy Dalton (The Narrator)
Lachele Carl (Trinity Wells)
Jessica Hynes (Verity Newman)
David Harewood (Joshua Naismith)
Jacqueline King (Sylvia Noble)
Alexandra Moen (Lucy Saxon)
Sylvia Seymour (Miss Trefusis)
Catherine Tate (Donna Noble)
Russell Tovey (Midshipman Frame)
John Simm (The Master)
Jimmy Vee (Monster)
June Whitfield (Minnie Hopper)
Paul Kasey (Ood Sigma)
Silas Carson (Ood voice)

Part Two also has:

Roger Bailey (Time Lord)
Teresa Banham (Governor)
Brid Brennan (Visionary)
Camille Caduri (Jackie Tyler)
Tommy Knight (Luke Smith)
Billie Piper (Rose Tyler)
Elisabeth Sladen (Sarah Jane Smith)
Matt Smith (The Doctor)
Penelope Wilton (Harriet Jones)

What have we learnt from this then? Well lots of familiar faces – Captain Jack, Harriet Jones, Rose & Jackie Tyler, The Master, Donna Noble.

Of particular interest are characters such as Verity Newman (Jessica Hynes). She also played Joan Redfer the character who was engaged to the Doctor when he went human and saw his book The Journal of Impossible Things. Apparantly Verity is a modern day author who has written the very same book – reincarnation maybe?

Now I’m not sure whether the Doctor will be revisiting all these people to right wrongs when he last met them or if it will be flashbacks – as it is Doctor Who it will probably be the former.

We’ll also get out first glimpse of Matt Smith as the new Doctor and a Time Lord!

Any thoughts or ideas as to what we may see in the final moments of Tennant’s Doctor? I for one am going to miss him.

Source: io9

Robin Ince visits the archives of his science heroes and Brian Cox puts science back on the political agenda.

Episode 1

A Fox family portrait.

(Fox Searchlight) Starring the voices of George Clooney, Meryl Streep, Bill Murray, Jason Schwartzmann, Michael Gambon, Wally Wolodarsky, Eric Anderson, Willem Dafoe, Owen Wilson, Jarvis Cocker, Brian Cox. Directed by Wes Anderson

One thing is true of all of God’s critters, two-legged and four-legged alike and that is that we must all be true to our own natures. If that nature invites danger and disaster, can we but follow the path presented to us or can we diverge into safety and security?

Mr. Fox (Clooney) is a chicken thief, and like all successful thieves he survives by being quick-witted and adaptive. His wife Mrs. Fox (Streep) doesn’t really approve of his line of work, but when they nearly get caught she forces a promise from him that he will find a different career path. He chooses the one that may be of all jobs even less reputable than chicken thievery – journalism.

Years have gone by and Mr. Fox continues to live in poverty in a comfortable hole with his family. He has gone straight but only on the surface; in his heart he is a clever chicken thief liberating poultry from farmers who are unwise enough to allow them to be liberated. Despite his lack of financial wherewithal Mr. Fox decides to buy a home above ground in a beautiful tree overlooking the farms of the three men who control the valley they live in (and three of the meanest men you’ll ever meet). While Mr. Fox’s lawyer Badger (Murray) cautions against it, Mr. Fox goes through with his plan to buy the house anyway even though it will put his family in the line of fire. That family is going through enough as it is with the arrival of cousin Kristofferson (Anderson) which further antagonizes Mr. Fox’s teenage son Ash (Schwartzmann) who has a bit of an inferiority complex to begin with.

In order to pay for his new mansion, Mr. Fox supplements his ink-stained wretch salary with a little thieving on the side, along with the help of his friend and general handy-man Kylie (Wolodarsky) who is prone to spacing out at odd intervals. This incurs the wrath of the farmers, led by the rail-thin chain smoker Mr. Bean (Gambon) who has nothing to do with the Rowan Atkinson character of the same name. They declare war on the fox responsible for the filching of their hard-earned wares, forcing the animals to tunnel for their lives. Can Mr. Fox devise a clever enough plan to save the animals and make everything fantastic again?

I want to make it clear from the beginning that I’ve always blown hot and cold when it comes to director Wes Anderson. While his best moments from movies like Rushmore and The Life Aquatic with Steve Zissou are arguably as good as any being produced today, he can also turn the quirk factor from charming to overbearing in a heartbeat. He is most definitely an acquired taste and one that I haven’t yet acquired.

However, to my mind this is the best work he’s done yet. The sight gags are often hysterically funny and the tone of the movie is just off-beat enough to be interesting. I suspect that Anderson may have dialed down things a bit in deference to the audience which is bound to include children (the source material is, after all, a classic children’s book penned by Roald Dahl, author of Charlie and the Chocolate Factory). In toning things down and making the movie a bit more accessible, he makes the quirky elements all the more effective.

It helps that he has a great voice cast. Clooney is sly, witty and charming in a Danny Ocean vein, with a heaping helping of Everett (the lovable ne’er do well from O Brother Where Art Thou?) thrown in for good measure. Streep is solid as the very much long-suffering Mrs. Fox and Gambon throws the right amount of hissable evil to his villainous Mr. Bean. Most of the others read their lines in a deadpan monotone which makes the humor a bit dry but emphasizes the irony much better. Those who don’t appreciate that sort of humor will probably find this movie frustrating.

I have to make it known that while this is ostensibly a children’s movie, I think adults may wind up finding it more appealing than the wee ones. Kids are not known for being terribly accepting of things that are different than what they’re used to, and some may find the tone strange or the overall humor a bit boring. There are some over-the-top physical gags that will keep ‘em happy but by and large adults will get this a little more than the Nickelodeon set will.

The animation is stop-motion and highly textured, with the fur of the animals rippling in unseen breezes along with the grass. Trees bend in unison like an arboreal chorus line, and tunnels are filled with dirt, rocks and roots. It is not specifically realistic, more like hyper-realistic (if you take for granted that foxes walk upright, wear tailored clothes and speak with more intelligence than the average human). Animator Harry Selick, the man who did The Nightmare Before Christmas and James and the Giant Peach was originally slated to animate this movie before delays caused schedule conflicts and Selick would go on to do Coraline. Instead Anderson hired Mark Gustafson who did the California Raisins commercials back in the day. Good choice, that.

Pleasant surprises make going to the movies a pleasure. I hadn’t been particularly looking forward to this movie but there’s a good chance this will wind up in our home video collection (which will likely be Blu-Ray by the time it gets out in that format). It isn’t often that I can say an animated feature will be appreciated more by adults than by children, but I think that I can say that with confidence here. Certainly there is that sense of magic and enchantment that is necessary in any animated feature, but with a tone and intelligence that is more adult. In other words, this is a movie that doesn’t talk down to children which is a good thing in my book. Next to Up, this is the best animated feature I’ve seen this year.

REASONS TO GO: Lots of great sight gags and a snappy off-kilter tone make this appealing to fans of indie films and Wes Anderson. Quirky without being overbearing. There are some nice vocal performances, particularly from Clooney and Gambon.

REASONS TO STAY: Although based on a children’s book and marketed to kids to a certain extent, this really isn’t a traditional children’s movie and if your tyke isn’t open to new things, they might find this strange or boring.

FAMILY VALUES: Some mildly salty humor but really suitable for the entire family.

TRIVIAL PURSUIT: The tree the Fox family lives in is based on a beech tree on the property of original book author Roald Dahl, and Mr. Fox’s study is a near-perfect recreation of Dahl’s own study in his garden hut where he did most of his writing.

HOME OR THEATER: Chances are this will work just as well on a home screen but I kinda liked it on the big screen. You make the call.

FINAL RATING: 7/10

TOMORROW: MirrorMask

My Brown Shoes
Frank Zappa and the mothers of invention famously said “brown shoes don’t make it” . Only one of my brown shoes didn’t make it Thanksgiving night. it was run over in the driveway to the ill fated old Jack Tar Hotel, now known as The Cathedral Hill Hotel. The jack Tar once a symbol of space age modernity is old and dumpy now and going to be torn down. My brown shoes once a symbol of normalcy that i only put on to feel that “brown shoe feeling”, i kept safely up on a shelf, and only put them on to walk around the apartment, or to wear while dining on Thanksgiving at my friends beautiful house where people still dress to dine, at least on one day of the year.
I had a couple of cups of coffee after stuffing myself with turkey,stuffing, potatoes, Veuve Cliquot, and a few pieces of pie. I put my walking shoes back on to go to the car and drive home, carrying the brown shoes in the water bottle holders of my rucksack. Parked my car in cathedral hill where there is more civilized parking and began to walk the almost five blocks to my apartment. The weight of the evening coming off of me almost all at once. Thanksgiving is my favorite holiday, and i insisted on aquirring and cooking the turkey to ensure that that part of the day went as i wanted it to, ne needed it to. My friends do Thanksgiving right, and everything fell right into place even better than i expected (needed). The symbol complete. I noticed somewhere along Geary street that i had lost a shoe. I panicked. i combed up and down, but those blocks are dark. I went home. One of my symbols of things going ok was now horribly incomplete. I didn’t sleep. I thought of my shoe languishing on a dark sidewalk, i thought i might just buy another pair, The heavy fog turned into mist and then a light rain. In the morning I walked up to where i parked hoping with my fingers crossed that my shoe was safely still inside my car, but as i got to the driveway of the ill fated Jack Tar/Cathedral Hill Hotel, there it was right by the curb, dejected and flat. Not destroyed, still quite wearable, but with a flattened toe, not the shiny bulbous toe of its twin. I carried it home like a wounded bird, some scruffy men sitting on the sidewalk drinking said, “hey man, spare a shoe?”

The Brown Shoe (that didn't make it)