Category: Reviews

Review: ‘Einstein and Eddington’

Review: ‘Einstein and Eddington’

[[[Einstein and Eddington]]] is a story about the pursuit of truth against a background of war, violence, nationalism, subterfuge, and prejudice during World War I.
 
David Tennant, widely known as the latest incarnation of [[[Doctor Who]]], admirably plays Arthur Eddington, hailed as the “best measuring man in England.”  Appointed as the Director of the Cambridge Observatory, the ninth since Sir Isaac Newton held the position, he is charge with maintaining the truth of Newtonian physics against all comers.  Sir Oliver Lodge, another keeper of the Newtonian faith, is portrayed by the wonderful Jim Broadbent and assigns Eddington to investigate an up and coming German scientist, Albert Einstein whose work appears to question certain aspects of currently accepted physics.  Lodge wants Eddington to prove Einstein wrong, demonstrating the superiority of “British science” over “German science.”
 
Andy Serkis’s portrayal of Albert Einstein is heartwarming, funny, and frustrating, all at the same time.  Serkis is best known to audiences for his work as Gollum in [[[The Lord of the Rings]]] trilogy , but here we can see him as a flesh and blood actor. The character appears to be incapable of relating to most people, much to his estranged family’s dismay.  He is offered a much needed job at the University of Berlin, the heart of the think-tank for developing better ways of making war.  He cannot understand why they want to use science to build things and kill people, rather than simply love science for the sheer joy of figuring out how thing work, not bend it to their destructive will, and he is quite vocal about his position.
 
This is the situation when, much to Eddington’s dismay, he discovers that Einstein may indeed be right about flaws in Newton’s laws.  Having never met the man, he writes Einstein a letter which is simply a page of equations.  Einstein responds in kind.  Eddington, a Quaker and pacifist, had found a balance in his life between science and faith, finding room for both Newton and God.  Until he receives Einstein reply.
 
Between the lines of equations the two men share, they continue to pursue the truth behind the physics and develop an unusual friendship.  Their work continues through a series of personal trials: Einstein ’s affair which leads to a divorce, Eddington’s loss of a dear friend at the Battle of Ypres where he is killed by mustard gas, developed by the same institution employing Einstein, and both of them coming into conflict with the demands of their respective employers.
 
Something of a recluse, Eddington was never comfortable with being the focus of public attention so it was fortunate that his work brought more attention to the work of Albert Einstein and his Theory of General Relativity.
 
Einstein and Eddington is a fine introduction to these two geniuses and the science they both loved so dearly.
 
This period piece was filmed on location at Cambridge University, with Croatia and Hungary standing in for Germany and West Africa. It was written by Peter Moffat and directed by Philip Martin, the team behind the acclaimed [[[Hawking]]]. The BBC production was filmed in association with HBO and debuted on November 22 in the United Kingdom.  An American airdate on the premium channel has not been announced.

Review: ‘The Day The Earth Stood Still’ DVD

Review: ‘The Day The Earth Stood Still’ DVD

The very best science fiction comments on today’s problems wrapped around a provocative story involving characters and situations that people can relate to.  They are also snapshots of moments in time and The Day the Earth Stood Still is a wonderful look at America between the end of World War II and the Cold War that gripped the world for decades.

There are few genre films of this era that hold up today and if you have never seen it, this two-disc commemorative set, on sale today, is well worth your attention.

The film is loosely based on a Harry Bates short story but thoroughly rewritten by Edward North and directed with a documentary and film noir feel by Robert Wise.  The tale of first contact is nothing new, but it’s all in the telling.  In this case, the film and its characters take matters very seriously. Wise is to be credited for giving us a culturally diverse montage of reactions throughout the movie, so we’re reminded that the arrival of the flying saucer affects everyone living on Earth.

Wise and Fox’s executives were smart to cast newcomer Michael Rennie as Klaatu since audiences had no preconceived notions when they see him, as opposed to Spencer Tracy, who we learn in the extras, wanted the role.  His lean figure and serious demeanor made him appear otherworldly and human at the same time. He’s paired nicely with Patricia Neal as a widow raising her young son, Bobby (Billy Gray).

So typical of mankind, no sooner does Klaatu emerge from the starship than a nervous G.,I. fires and wounds him, activating his security robot, the mammoth Gort.  When Klaatu asks the President’s secretary to arrange a meeting with world leaders, we get a little political satire as leaders of state put ego ahead of statesmanship. Klaatu decides to go out among mankind and find out something about the people of Earth and there he takes up residence at the boarding house where Neal lives.

The scenes of Klaatu and Bobby touring Washington are nice as we see things through fresh eyes which leads Klaatu to find Prof. Barnhardt (Sam Jaffe), the stand-in for Albert Einstein, the era’s recognized smartest man alive. Fear wins the day as Klaatu is shot once more but miraculously survives in time to deliver a warning.  Mankind’s use of atomic weapons must never expand into space, threatening the galactic peace.  If they cannot do this, the planet will be reduced to a cinder. And then he leaves, mission accomplished.

Sure it’s a cautionary tale and far more simplistically told than the remake coming December 12 which changes fear of warfare to fear of ecological disaster.  Still, for its time, the movie is quite sophisticated in its script, direction, acting and message.  There’s an ironic moment as we see medical staff marvel over Klaatu’s prolonged lifespan as they light up cigarettes.

The first disc opens with Exclusive First Look At The New Movie [[[The Day The Earth Stood Still]]] which probably should have followed the feature.

The extras put the film into context starting with archival commentary from Wise (who died in 2005) and Nicholas Meyer (who followed his footsteps as a Star Trek director). The Making of The Day the Earth Stood Still does a nice job telling you the basics behind the film’s history but it’s the second disc that gives you “Decoding ‘Klaatu Barada Nikto’: Science Fiction as Metaphor” giving you the historic perspective.  The first disc also offers up “The Mysterious, Melodious Theremin” which even puts Bernard Hermann’s haunting score into perspective.

On the second disc there’s also a fairly rote look at the history of flying saucers plus bio pieces on Bates and North.  North made an anti-atomic bomb documentary, [[[Race To Oblivion]]], starring Burt Lancaster, this is also included.  Original trailers and a 1951 Fox Movietonews  round out the visuals. Still galleries including lobby cards, one sheets and the complete shooting script.

Review: ‘The Best American Comics: 2008’ edited by Lynda Barry

Review: ‘The Best American Comics: 2008’ edited by Lynda Barry

The Best American Comics: 2008
Series editors: Jessica Abel and Matt Madden; edited by Lynda Barry
Houghton Mifflin, October 2008, $22.00

The “Best American” series has been around for decades, starting with the acclaimed annual collection of short stories and expanding in recent years to such newer emanations as [[[Best American Nonrequired Reading]]], [[[Best American Spiritual Writing]]], …[[[Travel Writing]]] and, of course, [[[Comics]]]. This is the third year for this particular Best American series, and it sees the cast of editors completely change over.

The way the “Best American” books seem to work – as much as they are explained to us mere mortals – each series has a “series editor,” who takes on the tough work of reading or looking at everything eligible in the given year, and culling down that list to something manageable for the marquee-name “editor” to select the final contents from. (For example, for the most recent annual editions, the series editor of [[[Short Stories]]] is Heidi Pitlor and the editor is Salman Rushdie. Similarly, Adam Gopnik edits Essays this year, Anthony Bourdain Travel and George Pelecanos Mystery Stories.) For the first two years of Comics’s existence, the series editor was Anne Elizabeth Moore, who was somewhat controversial for reasons that always remained murky to me. She’s been replaced this year by the team of Jessica Abel and Matt Madden, for no stated reason – though it does seem unusual for that to happen so soon.

The big-name editor this time out is Lynda Barry, following Chris Ware last year and Harvey Pekar in 2006. And, again, the editor profoundly affects the content of the book. Pekar leaned towards long, autobiographical stories, often with a political slant. Ware continued the trend towards autobiography and memoir – it would be hard to avoid that tide in comics, this decade – but he also brought in the expected formalist streak. And now Barry changes the mix again, with more comic strips (Matt Groening’s [[[Life in Hell]]], Derf’s [[[The City]]], Kaz’s [[[Underworld]]], and Alison Bechdel’s [[[Dykes to Watch Out For]]]) and many excerpts from longer works (Nick Bertozzi’s [[[The Salon]]], Cathy Malkasian’s [[[Percy Gloom]]], Gene Luen Yang’s [[[American Born Chinese]]], and Seth’s [[[George Sprott]]]).

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Review: ‘Tropic Thunder’

Review: ‘Tropic Thunder’

Movies about movie making can be filled with inside jokes that lose the audience or use the miniature world of a set to tell a dramatic story.  Then there’s [[[Tropic Thunder]]], a broad comedy poking fun at multiple Hollywood types in one stroke.

Ben Stiller, aided and abetted by Justin Theroux and Etan Cohen, wrote a movie about a stereotypical misfit cast that is making a war story but find themselves in a real jungle battle.  Not the most original of ideas, but as handled by the ensemble, it’s remarkably refreshing and entertaining. When the film opened in August, it was like a tonic to the explosive super-heroic fare and lackluster comedies.

The movie sends up Apocalypse Now, Full Metal Jacket, and other modern day war dramas, not just in structure, but in the way scenes are staged, lit, and performed.  There’s affection here, respecting the source material but using it as a launch point for some strong satire.

Stiller is joined by Jack Black, Robert Downey, Jr., Steve Coogan, Jay Baruchel and Danny McBride as the actors who are either over the hill, uninsurable or so full of themselves that there’s a wonder how the studio green lit the project in the first place.  First-time director Damien Cockburn (Steve Coogan) is in over his head with the uncontrollable cast and mounting budget issues.  He’s supported by his dancing producer is played with delicious irony by Tom Cruise under pounds of latex and steals every scene he’s in.

Everyone else has heaped superlatives on Downey as playing an actor who turns himself black to play an African-American character so I’ll skip him and note that Baruchel, McBride, Coogan and Brandon Jackson are relatively new to me and rise to the occasion, not letting themselves get overshadowed by the more recognizable names. Nick Nolte has a small role and seems interested in spoofing his career.

The film is clearly not for everyone but film aficionados will enjoy it along with fans of Stiller, Black and Downey.  The Director’s Cut is 13 minutes longer and the only version included in the two-disc set.  In most cases, scenes are a little longer.  One key addition is a party sequence that spotlights the actors before they begin shooting the troubled film.

The fun continues in the second disc filled with features.  Divvied up into bite sized chunks, you can see how the film was conceived, designed, shot and edited.  Extended and deleted scenes come with some good commentary and an alternate ending shows they made the right choice. The cast each get a profile and there’s a fun mockumentary, [[[Dispatches from the Edge of Madness]]], satirizing documentaries the Eiropean host goes in search of Cockburn during the troubled production.  There are other features to round out the disc and are the usual assortment we’ve come to expect.

Review: ‘Abe Sapien: The Drowning’ and ‘B.P.R.D.: 1946’

Review: ‘Abe Sapien: The Drowning’ and ‘B.P.R.D.: 1946’

It’s always a bit sad when someone quits a job, especially a well-loved and -trusted colleague who did a huge amount of the work. Sure, you’ll all take him out to lunch on his last day (or as close to it as you can manage), but that’s for his benefit. The next Monday, you all have to go back to work, and try to make up for what he used to do as well as you can.

Hellboy has been gone from the Bureau of Paranormal Research and Development for a while, now – since 2001, though the stories take place in various eras and times – and they’re still trying to make up for the loss. In an office, that would just entail some cursing, some longer hours, and a lot of questions about how to fill out the TPS forms. But for the B.P.R.D., there’s the little matter of saving the world without a nearly indestructible red guy with a sledgehammer for a right hand leading the way.

Since [[[Hellbo]]]y left the B.P.R.D., Dark Horse has published an increasingly proliferating array of stories set in the same world: an ongoing sequence of B.P.R.D. miniseries, and then short series about Lobster Johnson and Abe Sapien.

This year has already seen the Lobster Johnson trade paperback, and eighth volumes of both Hellboy and B.P.R.D. (which I reviewed together back in June), and now there are two more Hellboy-universe books to keep us busy.

[[[Abe Sapien: The Drowning]]]
Story by Mike Mignola; Art by Jason Shawn Alexander
Dark Horse, September 2008, $17.95

Abe has been at the center of several B.P.R.D. stories before, but this was the first time he got his name in the title – it’s a flashback story, set in 1981, when Hellboy was on an extended leave from the B.P.R.D. but supernatural mysteries still needed investigating.

B.P.R.D. head Trevor Bruttenholm had recently discovered that a British supernatural agent had used a rare and powerful Lipu Dagger to kill the evil Dutch warlock Epke Vrooman in 1884, near the Atlantic coast of France. Vrooman’s remains and the dagger are at the bottom of the sea, in a shipwreck. But surely an amphibious man wouldn’t have any trouble in diving down and retrieving the dagger?

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Review: ‘Batman Cacophony’ #1

Review: ‘Batman Cacophony’ #1

The eagerly anticipated [[[Batman: Cacophony]]] #1 finally hit shelves this month, and, on many levels, it did not disappoint.  The three-issue series is authored by famous screenwriter/director Kevin Smith, and his signature style is evident.   Smith, as always, manages to weave in a healthy dose of crude, sexual humor, and it is surprisingly successful coming out of The Joker’s mouth.   The tone of the book, however, is not as dark as one would think.  The atmosphere created by the creative minds at work is more a cartoonish, brightly colored Pulp Fiction than the noir-esque Batman of years past.   A color palette of burnt oranges, yellows, and primary colors adorn the pages in the book, and this tone nicely compliments Kevin Smith’s clever, quick witted humor. 

On the topic of art, the book is drawn by illustrator Walt Flanagan, making his DC debut.  Although he shows promise, his style is definitely that of a rookie and not a seasoned veteran.   The drawings lack the stylistic flair that many accomplished comic artists have mastered.   While the absence of pop in the drawings can be distracting, Smith manages to set the stage for what is sure to an interesting story.  He is weaving together a tale that links the Joker to a ring of Greek mobsters and designer drugs which is also peppered by the presence of the always fascinating villain Onomatopoeia, not seen since Smith introduced him during his short run on [[[Green Arrow]]].   Onomatopoeia happens to be one of the characters that is drawn very well by Flanagan, and the story lines are sure to collide and provide solid entertainment for any reader who shows interest.

Review: ‘Bourbon Island 1730’ by Appollo & Lewis Trondheim

Review: ‘Bourbon Island 1730’ by Appollo & Lewis Trondheim

Bourbon Island 1730
By Appollo and Lewis Trondheim; Art by Lewis Trondheim
First Second, October 2008, $17.95

Bourbon Island is a small but real place – it’s called Réunion these days, but it’s there, hanging near the east coast of Madagascar – and several of the characters in this graphic novel either carry the names of real people or are very similar to real people. But [[[Bourbon Island 1730]]] is a work of fiction – it’s primarily about people who never were real and about events that never happened.

It’s a looser and less tightly defined story than the reader expects at first: it begins with young Raphael Pommery, the assistant to ornithologist Dr. Despentes, traveling with his boss to Bourbon, hoping to find one last dodo. But Raphael is more interested in stories of pirates than in birds, living or possibly extinct. Raphael looks like our protagonist – young and more than a little romantic, just ripe for learning about the real world.

But Raphael doesn’t stay at the center of this story: in fact, no one that we see is really the protagonist. Bourbon Island instead centers on a character who never appears: the pirate Buzzard, the last great captain of a now-vanished age, imprisoned and facing a death sentence in Bourbon’s governor’s jail. Many of the settlers on Bourbon are reformed pirates, men who took an amnesty and laid down their arms – and it’s quite possible that a few or a lot of them may take up arms to free Buzzard.

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Review: ‘Sabrina’

Review: ‘Sabrina’

As a Humphrey Bogart fan, I was exposed to the delight that is [[[Sabrina]]] back in high school and fell in love with the romantic comedy.  It has held up to repeated viewings through the years and makes you wonder why Paramount ever bothered to remake it.  If you forget, it starred Harrison Ford and was atrocious.

Instead, if you’re unfamiliar with the story hie thee to the store and buy the Centennial Collection edition, which is number three in a new series from Paramount Home Video. The two disc set is a treat.

First, you get the story set in East Egg, I mean Great Neck, when it was where the high society lived in the first half of the 20th century.  They were tended to by a full staff, many of who, lived on premises including the chauffeur’s daughter, Sabrina, played with wide-eyed charm by Audrey Hepburn.  Her father tends to drive Linus Larrabee (Bogart) to the New York offices of the family business. Linus works all day and worries about the company all night, never seeming to have fun.  His opposite is his younger brother David, played by William Holden.  He’s all carefree and never thinks about the business, just spending its profits.

Sabrina has just returned from cooking school in Paris and the time away has done her a world of good.  She looks older, more mature, and a different girl entirely so the Larrabees all have trouble recognizing her. She, though, continues to have only eyes for David, who is presently engaged, not that that stops him from encouraging a flirtation with “the chauffeur’s daughter”.  To keep David focused on the impending wedding; Linus begins spending time with Sabrina.  The rest, as they say, is magic.

Interestingly, depending upon which featurette you watch, Bogart either did or did not want to be in the film but certainly was beloved for taking on the part. The extras celebrate a social world that is long gone in Sabrina’s World then a long look at the wonderful supporting cast that enriched this and so many others films of the 1940s and 1950s.

The [[[Audrey Hepburn: Fashion]]] Icon feature looks at how the film turned Hepburn into a fashion icon and spotlighted Hubert de Givenchy’s designs. Although Edith Head got all the credit for the film, Hepburn’s lifelong devotion to Givenchy paid dividends.

Holden gets the full bio treatment in a 24 minute mini-documentary and the [[[Behind the Gates]]] feature this time looks at the camera. Paramount in the ‘50s makes it third appearance in the series and the disc is rounded out with stills and trailers.

These first three films in the series celebrate all that was right with Hollywood i the 1950s when movies could be smart, looked good, and were well acted.  And in every case, they were about something while providing entertainment.

Review: ‘Roman Holiday’

Review: ‘Roman Holiday’

When it opened, Roman Holiday enchanted a world that had largely never really seen Italy.  The film was one of the first filmed entirely on a foreign location and it became as much a travelogue to a post-World War II America as it was a fresh romantic tale about a princess and a commoner. The second film in Paramount Home Video’s Centennial Collection, it has been cleaned up and remastered, looking sharper and richer than previous editions.

The film introduced the world to Audrey Hepburn, the fresh-faced gamine who became an instant star and fashion trend-setter. Paired with the relaxed Gregory Peck, they made an engaging couple as the two spent a full day seeing the sights.  She’s Princess Ann, in Rome as part of a European tour and tired of her over-scheduled, protected life.  When she escapes for a day off, she strikes up a friendship with American journalist Joe Bradley (Peck).  They go off to explore the city, opening his eyes to a less cynical world as she sees the real people of the city.  They’re tailed by Eddie Albert in a beatnik beard, who’s playing a cameraman smelling a scoop.  It’s poignant, funny, romantic, and a delight that has held up through the years, thanks to a sharp script from Dalton Trumbo.

Trumbo was one of the celebrated screenwriters pilloried during the Congressional witch hunt seeking Communists throughout Hollywood.  His credit was withheld from the film for fifty years but it proudly restored here and his heroism is recounted in [[[Dalton Trumbo: From A-List to Blacklist]]], one of the all new features.  Interesting, most of the extras from the 2002 disc are gone with the exception of Restoring [[[Roman Holiday]]] which is a fascinating look at the process.

Being Hepburn’s debut, she is spotlighted in the thirty minute career piece, [[[Audrey Hepburn: The Paramount Years]]], followed by [[[Remembering Audrey]]], which looks at her affect on the world and her charitable efforts.

Behind the Gates: Costumes is part of the series’ look at the filmmaking process and spotlights legendary costumer Edith Head although we have a look at random clothes from various films that have been carefully preserved.  We also get Paramount in the ‘50s once more which practically is an ad for future titles in this welcome series.

You get a look at Rome at a time when the war debris had been cleaned up and the city hadn’t been filled to the brim with tourists and cars. The antics are innocent and the characters a little thin but certainly enjoyable.  The film holds up and is well celebrated here.

Review: ‘Sunset Boulevard’

Review: ‘Sunset Boulevard’

The cult of celebrity has been with us for millennia but it really entered a new phase when everyone could see and react to the same experience, such as the era of Silent Films. From coast to coast, people could see the same story performed the same way and it helped bring people together as many performers suddenly became household names and were the first people haunted by the paparazzi.

The coming of sound altered the cast of characters and many notable stars could not handle the transformation and faded from fame and memory.  That tragic reality became the premise for Billy Wilder’s brilliant Sunset Boulevard which is the lead title in Paramount Home Video’s new Centennial Collection. The first three volumes were released last week and we’ll be looking at them over the next few days.  Each comes in a heavy cardstock box and provide you with two discs – the actual film and all new extras plus an 8-page booklet. Overall, the numbered cases look very nice side by side.

The story of Joe Gillis, a struggling screenwriter, who accidentally enters the warped reality of silent film star Norma Desmond, has long been entrenched as a classic. Gillis’s seduction is slow and careful as Desmond reels him in with charm and money.   The idea that he could turn her mountains of pages into a script and sell it, making his name and erasing his debts, is more tempting than his original notion so he goes along.  What he slowly comes to realize is just how far from grace Desmond has fallen, her ego fed by her former director turned caretaker, Max. 

The performances by William Holden and Gloria Swanson still hold up today, thanks to Wilder’s strong script and visual direction.  On the disc, the remastered print brings out subtle shadows and shades that enhance the creepy atmosphere of the mansion that becomes his home and remains her asylum.

Disc 2 provides a wealth of extra that set the tone for the discs that follow.  There’s [[[Sunset Boulevard: The Beginning]]], which offers up the usual assortment of information on the film came together. Novelist Joseph Waumbagh largely narrates [[[The Noir Side of Sunset Boulevard]]], taking a closer look at a neglected aspect of the film. Other pieces have the surviving actors reminisce in [[[Sunset Boulevard Becomes a Classic]]], [[[Two Sides of Ms. Swanson]]], and [[[Stories of Sunset Boulevard]]]. Archival footage of Swanson herself talking about the film is well used throughout.

Recording Sunset Boulevard looks at Franz Waxman’s Academy-award winning score that is icing atop Wilder’s cake.

There’s also a piece on Holden that largely focuses on his career up to making this film, saving the full retrospective until volume three.
 
As part of the centennial celebration, you get a look at the Paramount Lot from its silent film days through its merger with Desilu in 1967 that shaped the studio as it is today. There’s also a clip-filled look at the studios’ output tin the 1950s which largely informs the first 5-6 offerings in this collection. Original script pages, trailers and other treats await the connoisseur.