Tagged: Ric Meyers

Giving thanks for good columns

Giving thanks for good columns

I find it nothing short of astounding that ComicMix columns continue to get stronger as the year goes on.  Here’s the past week’s worth of what’s shaping up to be a great legacy of reading:

Thank you again to all our readers for your participation via the comments!

I Know Paprika Killed Me, by Ric Meyers

I Know Paprika Killed Me, by Ric Meyers

Prurient: “Having or intended to arouse an unwholesome interest in sexual matters.”

– Encarta World English Dictionary

That’s pretty much the only word anyone needs to explain I Know Who Killed Me starring Lindsay Lohan. The words “great,” “well-made,” “engrossing,” or even “entertaining” wouldn’t suffice. “Fascinating,” however, might fit, given this car wreck of a film perfectly represented the star’s car wreck of a life at the time of its production.

The term “car wreck” is carefully and purposely chosen, however, since watching Lohan’s human accident is much like slowing down for highway rubbernecking – thanks to the “celebrity” obsessed media (who’s far more interested in such things than the public they maintain they serve seems to be).

Much in the way you can chart any actor’s state of mind by the projects they choose, this unfocussed, confused, schizo, meandering, self-absorbed-slash-self-loathing-slash-self-aggrandizing-slash-self-mutilating effort can reveal anything you ever wanted to know about Lohan’s self-sabotaging lifestyle. Her stumbles are all the more sad since, of the troika of self-immolating “celebs” the media is micro-analyzing (Britney and Paris make up the rest of the 3 Stooges), Lohan is clearly the most promising and/or talented.

That talent is only vaguely on display in this slasher psycho-drama, leaving only the body the actress and media seem to have a love/hate relationship with. Within the pretentious, muddled, fairly dull film, she plays a college student, who, after barely surviving an abduction, torture, and mutilation by a serial killer, wakes up to maintain that she’s a self-destructive stripper. This allows the film to lurch hither and yon between both girls’ lives as somebody searches for the sicko, and director Chris Sivertson tries to out DePalma Brian DePalma when it comes to pointless “are they or aren’t they?” fantasies, dream sequences, and flashbacks.

The film not only represents Lohan’s life, but it also reflects the quality of the DVD’s “special” features. The “Alternate Opening” and “Blooper Reel,” especially, are as misleading as the film. The former is simply an extended sequence with several more shots of lights reflected in water, which doesn’t change the opening’s meaning in any way (alternate means “different from,” not “slightly longer”). The latter are just a few joyless instances of actors inadvertently confusing a character’s name or not knowing their lines (blooper means that said mistake be “humorous” or even “mildly embarrassing”).

So that leaves the “Alternate Ending” and what any real fan came for: the “Extended Strip Dance Scene.” The former is less than a minute, but long enough to give the connotation that all that preceded it was a fiction from within the mind of the college student. The latter is exactly what it says: a longer version of Lohan’s PG-13 stripper act (complete with R-rated support strippers around her). No question: she’s an attractive young woman who can languidly sashay around on high heels, act pouty/dirty, and even (in the sequence’s “climax”) open her legs. Whoop-dee-do.

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Unconventional reading

Unconventional reading

Some of us not being nearly as young as we used to be, yesterday’s National convention in NYC pretty much wiped us for the weekend.  Other ComicMix folks will be in attendance today, but we’re resting our aching back and legs and never-you-mind, and catching up on the past week of columns:

And, although it goes without saying, don’t forget to click on our free online comics as well!

Live Free or Hairspray Hard by Ric Meyers

Live Free or Hairspray Hard by Ric Meyers

When I was attempting to explain the joys to be found in a good kung-fu film in my Martial Arts Movie books, I suggested that the exhilaration of a great wushu battle is only really comparable to the delights of a good movie musical. Both feature operatic emotions with balletic energy. I was reminded of that comparison when watching Hairspray, one of my three favorite summer o’07 films (Ratatouille and Superbad were the others). I admired it so much I even included it in my Inside Kung-Fu magazine media column (after all, the word “kung-fu” actually means “hard work”).

   

Now the DVD is out, and in a two-disc “Shimmy and Shake Edition,” too. After the too-few extras on the Ratatouille and Help! DVDs, it’s nice to find a release with the reams of special features about the kung-fu I so enjoy. There’s two audio commentaries – one with star Nikki Blonsky and director/choreographer Dan Shankman, and the other with two producers (Neil Meron and Craig Zadan). The latter is a little more informative but the former is a lot more fun.

   

Joining them on the first disc is a “Hairspray Extensions” featurette that lives up to its title – in that it shows six musical numbers as they were built, step by step, from rehearsal to filming. For Dancing With the Stars fans, there’s also a “Step by Step Dance Instructions” featurette that carefully and completely teaches you two of the film’s signature boogie-woogies. Finally, there’s a “Jump to a Song” feature which allows you to avoid all those pesky dialog scenes.

   

Then there’s the second disc, which balances extensive and exhaustive “making of” docs (on the music by Marc Shaiman, who also composed the South Park movie, dancing, design, costumes and cast) with historical context featurettes on the original non-musical John Waters film, the actual Baltimore TV dance show the film was inspired by, and the Broadway musical that was adapted from Waters film. But, as they say on TV, that’s not all. Rounding out the second disc are a bunch of deleted scenes, including an evocative song that was cut from the film (probably wisely – though effective, it clearly slowed the film’s pace).

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Striking the right notes

Striking the right notes

As the WGA strike begins its second week, ComicMix staffers and columnists applaud our fellow writers, remind readers to keep turning to United Hollywood and Deadline Hollywood Daily for the latest news, and promise to keep entertaining you as best we can!  Here’s what we’ve had for you this past week:

May the WGA get everything it wants and well deserves!

Close Encounters of the Third Help!, by Ric Meyers

Close Encounters of the Third Help!, by Ric Meyers

But first a digression. I went to see American Gangster the other day (engrossing, well done, I’d give it a solid 8 outta 10), which included previews for the upcoming movies Wanted (Mr. & Mrs. Smith meets The Matrix) and Jumper (X-Men ripoff), both of which were absolutely chock full of cgi making the characters do all sorts of incredible, impossible things amid carnage which would turn normal men’s biology into strawberry jam.

   

As I watched dispassionately the following motto came to mind that I wish were put on billboards and t-shirts and those inspirational posters that they sell in airline mail order catalogs, to be seen in every studio, producers’ and executives’ office:

   

“When nothing is impossible, nothing is interesting.”

   

Just wanted to get that down on record. Now we return to this week’s DVD Xtra column, already in progress.

   

I’m a happy camper. Creeping into stores on cat feet or ninja paws this week is a movie I’ve been waiting to appear on DVD for years. It was one of my absolute favorites as a kid (in fact, through only slightly some fault of my own, it wound up being the movie I’ve seen the most through the years), and, while its predecessor (A Hard Day’s Night) got a swell special edition two-disc set via Miramax in 2002, this one has languished in limbo until now — and, to top it off, needed the Beatles’ record company to make it a DVD reality.

   

It is, of course, Help!, the music-filled, Goon Showish/Monty Python-esque film farce MTV has officially credited as being its inspiration. Now, thanks to the Beatles’ Apple company (not to be confused with the like-named company on whose computer I presently type these words) and Capitol Records, Help! has now got a lovely two-disc special edition of its own.

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An extra hour to read

An extra hour to read

Move those clocks back and use the exta time to settle in with ComicMix columns, why don’tcha!  Here’s what we’ve brought you this past week:

Now that’s an hour well spent!

Spider-Rat, by Ric Meyers

Spider-Rat, by Ric Meyers

Last week I discussed how great, illuminating, extras can turn a flawed film into a DVD must-have. This week, the worm has turned. I now aim to show that all the extras in the world can’t make a misguided movie a keeper.

Spider-Man 3 was a mess. It was especially disappointing because director Sam Raimi showed such a sure helming hand on Spideys one and two. But, perhaps because he thought number three would be his last, he apparently decided to do everything else he ever wanted to do in one go. Whatever the cause, there were too many plots, villains, love interests, moods, approaches, and concepts.

It also suffered from a severe case of co-starilitis – the same affliction which struck Superman Returns’ Lois Lane and Rise of the Silver Surfer’s Sue Storm – in that the heroine’s desire for communication and closure trump any concern for the good of the many, be it city, world, or movie audience. The result is that scenes of relative insignificance go on for what seem like forever, while important junctures are dismissed within seconds (the teaming of Sandman and Venom) or just ignored (the new Goblin’s blackmail of Mary Jane).

What also happens in a film as overstuffed, and therefore unavoidably unfocused, as this one is that the filmmakers develop tunnelvision – concentrating on the “cool” parts (like the multi-million dollar cgi Sandman intro) and ignoring what obviously doesn’t work or come together. Thus we have Spider-Man 3: Two Disc Special Edition, which has reams and reams of extras, signifying essentially nothing.

Normally such stuff as featurettes, documentaries, and audio commentaries are completed during post-production – that is, in the time between the shooting wraps and the finished film premieres — so no talking head yet knows how the film actually fared in the big bad world. So it can be both entertaining and edifying to hear just how misguided the producers, actors, and director were (the techs are mostly invulnerable to these embarrassments, because their work is invariably exceptional and it’s not their fault that the core staff bit off more than they could eschew).

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Worldly Serious

Worldly Serious

Out in the land of baseball humidors, the Beantown Bombers seem poised to win it all.  But here at ComicMix we like to think our columnists hit home runs every day.  Or at least we’re somewhere in the ballpark.  Here’s what we’ve served up for you this past week:

I have to retire all my baseball puns until next spring now, don’t I?

The Super Powers Myth, by Ric Meyers

The Super Powers Myth, by Ric Meyers

The last time I’ve spoke to Jackie Chan he said to me: “I’ve done everything three times” – meaning that he’s finding less and less ways, and reasons, to top himself. Unfortunately that also results in schizo, ultimately unsatisfying, films, further hampered by his unwillingness to mature his screen persona. Even so, he keeps looking for ways to challenge himself and keep busy, despite the repetition of his movie and charity work.

But Jackie’s last great film was Legend of Drunken Master (HK: Drunken Master 2) in 1994. He’s made two dozen movies since then – all which included some exceptional sequences, but none which held together anywhere close to his classics of the mid-1980s. Clearly his best films are the ones which showcase his kung-fu, but as he grows older, he keeps trying to avoid that by dwelling on vehicular stunts or repeated attempts to balance his physicality with cgi.

Even so, Sony Entertainment has taken on the task of selling his most recent productions to the American DVD market. Their latest release, and one of Chan’s most creatively bold conceptions, is The Myth, hitting stores on October 30th. It’s also one of the most expensive films in Hong Kong history, and is, if nothing else, a visually splendid treat. Sadly, the film’s central flaw is showcased by Jackie’s admonition that he wasn’t brave enough to make what his director/co-writer Stanley Tong originally wanted: an entire film about a Qin Dynasty general.

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