Author: Christian Sauvé

  • A Short History of Nearly Everything, Bill Bryson

    A Short History of Nearly Everything, Bill Bryson

    Anchor Canada, 2004, 560 pages, C$23.00 tp, ISBN 978-0-385-66004-4

    It’s hard to find out a book that lives up to its hype, especially when the hype is near-unanimous.  For years, I’d heard about Bill Bryson’s A Short History of Nearly Everything in numerous book-recommendation lists, usually accompanied with superlatives about it being an exemplary work of science vulgarization, and the kind of book fit to expand minds.

    So imagine my surprise in finding out that A Short History of Nearly Everything lives up to its intimidating hype.  The most surprising thing about the book’s success may be that Bill Bryson is not a trained scientist.  Nor was he, prior to the book’s publication, known as a science writer: His output until then focused on light-hearted travel books and other personal essays.  A Short History of Nearly Everything was designed to be something else: A 500-page behemoth taking on all of creation, doubling as an exploration of the state of scientific knowledge and where much of what we know about the universe comes from.  In the book’s introduction, Bryson flat-out sates that he wrote the book for himself, to self-learn what he through he’d missed in his formal education, and to patch the holes left by dull science textbooks.

    He succeeds admirably well.  A Short History of Nearly Everything is supposed to start at the Big Bang and end at the dawn of human history, but the entire book is a celebration of the human drive for knowledge.  In discussing Earth’s formation, for instance, Bryson spends as much time telling us how scientists came to understand what we know about the Earth.  There are numerous anecdotes about the early days of science, and the heroic sacrifices required to find out things that we now take for granted.  Disastrous expeditions seem to be the norm for 19th century science, even (especially) when they lead to comparatively mundane innovations such as topographical map contour lines.  A Short History of Nearly Everything presents the scientist as a hero, and well-chosen portraits make it clear that even ordinary people can make extraordinary discoveries.  Little of it is dull given how the scientist-as-an-eccentric becomes a constant through much of the narrative.

    Even for readers with a good general scientific background, the list of new and unexpected nuggets of information and overarching links between disparate fields to be gleaned from the book is astonishing.  Nearly every page has a fascinating snippet or two, and Bryson’s generalist instincts serve him well in drawing evocative parallels between dissimilar areas.  It helps a lot that Bryson knows how to write smooth and easy yet factually-dense prose.  He’s as insightful as he is hilarious, and the resulting blend is simply intoxicating.  A Short History of Nearly Everything is a fantastically well-written book, and the prose style is just as entertaining as the subject matter.

    More than celebrating science, though, A Short History of Nearly Everything is perhaps at its most interesting when it charts the circa-2005 limits to human knowledge.  He acknowledges the limits of what we know and the ways we think we figured it out: It turns out that our understanding of fossils is based on a far small sample than you may expect, and that several areas of human knowledge remain curiously under-explored.  Rather than cast doubt on science itself, those gaps and paper-thin inferences only serve to inspire: There is still a lot of science left to be done, and the way we’ve been able to learn so much from so little, is nothing short of awe-inspiring at our own human cleverness.

    Nearly ten years after the book’s writing, and at a time when it seems that nearly every scientific popularization is riddled with errors and simplification, you may expect A Short History of Nearly Everything to be similarly undermined by a long list of errors.  But a look through reviews and commentary about the book merely reveals a distressingly short list of errors for such a big book and general praise from knowledgeable audiences.  (Although I’ve been able to find a few strongly dissenting voices, most of those are in the form of forum posting, not well-argued reviews.  Leave any in the comments, please..)

    Frankly, A Short History of Nearly Everything is such an exceptionally good book that the worst thing I can say about it is that I’m already mad at having forgotten a substantial chunk of it.  Get the book, read it and be amazed, not only at the prose, but what it tells us about ourselves.  Then don’t be surprised to find yourself praising its merits to others.

  • Phil Spector (2013)

    Phil Spector (2013)

    (On Cable TV, September 2013) Given how little TV-as-TV I watch, I never expected to mark an entire Emmy category as “complete”, but in-between HBO’s Behind the Candelabra, Parade’s End, The Girl and now Phil Spector, I’m all caught-up with the 2013 “Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie” category even before it’s awarded.  There’s certainly no finer reason to watch Phil Spector than to see good acting from Al Pacino and Helen Mirren, facing each other down as, respectively, a powerful music industry executive accused of murder and one of his defense lawyer.  It’s based the true story of Spector’s first trial (although not really, as the opening disclaimer sort-of-clarifies), but it’s perhaps best appreciated as a standalone court drama, featuring a pair of highly unusual characters.  Al Pacino is his usual intense self as Spector; he even gets a change to indulge in his signature rants late in the film.  Meanwhile, Mirren is in a class of her own as a hypochondriac but steel-nerved lawyer with an uncanny ability to defend her client no matter the circumstances.  (Phil Spector’s look at a high-priced defense, with war room and expert-driven strategies, is worth a look by itself.)  The film may indulge in showing the most eccentric aspect of Spector’s personality, but it’s also somewhat sympathetic to him, creating reasonable doubt that he may not have actually committed the murder for which he was accused.  Phil Spector remains a made-for-TV movie, but with David Mamet writing and directing for HBO, it features high-quality dialogue and decent production values: if nothing else, it’s a good way to enjoy good actors playing interesting people.  Al Pacino as Phil Spector?  That’s always worth watching.

  • Star Trek: Into Darkness (2013)

    Star Trek: Into Darkness (2013)

    (Video on Demand, September 2013) As a confirmed but not dogmatic Star Trek fan, I find this new movie-reboot-series interesting: It’s not quite the same Star Trek that established the reputation of the series, but it holds its own as an ongoing series of action-based SF adventures.  This second entry builds on the first one in that it doesn’t really have to re-establish all of the characters, giving more time and freedom to tell a new story.  That it’s pieced together from bits and pieces of other Trek miscellanea (I recognized at least three minor references to the original series, and I wasn’t paying that much attention) is a bit unfortunate, as it constantly invites comparisons that may not work to its favour.  There certainly are a few problems with Into Darkness: As in the first film, the screenwriters clearly don’t understand anything about science or basic plausibility (A spaceship plunging into the sea?  A major engagement in lunar orbit and no automated defense mechanism says boo?) and can’t be bothered to think twice about their universe-changing plot contrivances (Trans-warp? Resurrection serums?).  This laziness keeps Into Darkness from being taken seriously as some of the finest recent examples of filmed SF: this isn’t 1983, and there’s a lot of good original SF on-screens to pick from.  In order to compete, even a Star Trek reboot has to bring something to the table, and what Into Darkness has in spade is action: Director J.J. Abrams’ film is filled with high-end sequences mixing top-notch visuals with fast-paced tension and quite a bit fewer lens flares than the first film.  The characters don’t hurt either, as it’s almost ridiculously entertaining to watch Chris Pine as the impulsive Kirk play off Zachary Quinto’s cool Spock.  The rest of the crew also does well, proving the virtue of that particular cast selection back in 2009.  This time, though, the addition of Benedict Cumberbatch as the villainous super-man Khan makes for far better drama than the first film: Cumberbatch is delicious as an antagonist, and there’s enough tension for an entire film in seeing him work alongside the Enterprise crew for vastly different reasons.  Despite the departure from Trek’s all-optimism canon, I’m not unhappy to see tensions within Starfleet used as primary plot devices: This reboot is setting a nice bar in terms of dramatic interest, and fractious inner politics are a good measure of this pseudo-realism.  So it is that while it’s possible (and maybe even necessary) to nit-pick this film to shred, I’m not dissatisfied at all with the result.  My biggest wish for the inevitable third entry, though, would be to move farther away from Trek canon: a contemporary action-driven film series isn’t the same as a low-budget sixties serial, and any attempts to keep the two tightly linked can only frustrate everyone.

  • Lovelace (2013)

    Lovelace (2013)

    (Video on Demand, September 2013) The story of Linda Lovelace, first-ever porn star thanks to a starring role in the wildly popular Deep Throat, is a classic case of she-said-she-then-said: Lovelace (co-)wrote four autobiographies, and their content varied with time: The first two are very much pro-pornography at a time where she was riding Deep Throat’s popularity, the last two very much against it at a time when she was campaigning against obscenity and free to speak against her abusive then-husband. Lovelace unusually tries to grapple with this complex portrait by presenting Lovelace’s life twice: first as a success story, and then as the darker, more abusive version of it.  It may not completely work (the scenes become sketches rather than flow harmoniously from one another, and the simplification of Linda-the-victim is unfortunate given the complexity of her life after porn and after being used by feminist activism), but it’s an interesting attempt that brings an unusual twist to the usual bio-drama genre.  What is undeniable, though, is Amanda Seyfried’s performance in what may be the first truly adult role she’s played so far –far away from the post-teenage ingénues that fill her filmography.  As for the rest of the film, well, it convincingly re-creates the seventies, features a darkly amusing cameo by James Franco as Hugh Hefner and has a nearly-unrecognizable Sharon Stone in a maternal role (!) alongside a gruff Robert Patrick.  Lovelace may not be the complete story of Linda Boreman, but it goes further than could have been expected in presenting both sides of it.

  • Now You See Me (2013)

    Now You See Me (2013)

    (Video on Demand, September 2013) I really wished I liked this film more than I actually do.  After all, I’m a near-addict to the kind of fast-paced, slick commercial filmmaking that Now You See Me represents at its best, and I’m fond of thematic parallels between stage magic and thriller moviemaking.  The story of four skilled magicians involved in a revenge caper that they don’t entirely understand, Now You See Me is fun to watch and filled with interesting actors: Jesse Eisenberg is perfecting his alpha-nerd persona, Mark Ruffalo is fast settling as a dependable protagonist, while Woody Harrelson has some of the best lines in the movie as an arrogant hypnotist.  Having both Michael Caine and Morgan Freeman as supporting actors really doesn’t hurt.  (Too bad about Isla Fisher’s bland character, though.)  When it clicks, Now You See Me blends beat-perfect editing with skillful visuals and great audio material.  Director Louis Leterrier loves to move his camera around in order to make even the most ordinary moments seem exciting, and his action scenes are impressively choreographed.  So what’s the problem?  Well, essentially, a lack of restraint: The film often uses blatant CGI trickery in order to fake what are supposed to be real-time stage magic tricks, and in doing so basically blows away its own suspension of incredulity: When the smallest details are so obviously fake, it’s tough to be impressed by the film’s bigger magical set-pieces.  Now You See Me’s plot dynamics are also as overblown as to minimize the impact of its last narrative revelations: by the time the final sequence is supposed to blow our minds with an unexpected reversal, an excess of previous twists is bound to leave viewers’ reaction divided between “That makes no sense” and “Oh, whatever”.  The caper plot is also very unlikely, but that’s part of the charm of the sub-genre.  Despite its flaws, Now You See Me is an enjoyable piece of commercial filmmaking, and I even look forward to the announced sequel.

    (Streaming, May 2025) Let me be clear: I still don’t like most of the things I didn’t like about Now You See Me twelve years ago.  But I still do like what I did like, and I’m just weighting them higher in my overall assessment now — this is a slick piece of fast-paced filmmaking, and director Louis Leterrier’s seldom lets one dull minute go by when he can jazz it up with quick cuts, slick visuals and letting star actors do their thing.  Watching this with its vastly entertaining commentary track is almost information overload — especially as director and producer seem determined to cram as much information as possible about the film’s making-of, themes, inspirations and characters in the time they’re given.  I even respect the film’s last-minute twist a bit more as the director points out the foreshadowing and acting finesse required to pull it off.  Now You See Me has aged pretty well — it’s still a lot of fun to watch.

  • Only God Forgives (2013)

    Only God Forgives (2013)

    (Video on Demand, September 2013) I wasn’t a big fan of Drive, so the idea of a reunion between star Ryan Gosling and writer/director Nicolas Winding Refn wasn’t the draw that it was for other reviewers.  Much to my dismay, it turns out the Only God Forgives (great title, right?) takes the worst aspects of Drive and magnifies them: The plotlessness, the tepid tempo, the garish color scheme, the brutal gore, the expressionless characters… it just goes on and on without much of a point, even though Vithaya Pansringarm is a force of nature as the vengeful policeman righting the wrongs made by Gosling’s family.  It’s an unpleasant film in tone, approach and material, made worse by a lack of point and the bare skeleton of a plot stretched over 90 minutes.  While the visual polish of the film is undeniable, the directorial flourishes of Only God Forgives can’t save it from pointlessness.

  • Hit and Run (2012)

    Hit and Run (2012)

    (On Cable TV, September 2012) Oddball films certainly have their share of charm, and Hit and Run shows some of the goofy fun to be found in low-end Hollywood productions that often show up as cable releases or Video-on-demand premieres.  Co-written-and-directed by actor Dax Shepard (who stars in the film along with real-life-girlfriend Kirsten Bell), Hit and Run boasts of an interesting cast of comedians, an amiable rhythm, some amusing dialogue, a love of cars and a script that ends up being a bit tighter than you’d expect from the first half of the film.  Here, an expert driver with a shady past is forced out of his Witness Relocation Program identity by the professional aspiration of his girlfriend.  Going back to Los Angeles means tangling anew with a criminal crowd he thought he’d left behind, but that’s the fun of the film as various groups and people connect on the way to L.A.  The dialogue is pure laid-back California, the tangents are plentiful (although the ending ties a lot of them back together), Shepard anchors Hit and Run with an easygoing protagonist and the result is enjoyable on its own.

  • The Cold Light of Day (2012)

    The Cold Light of Day (2012)

    (On Cable TV, September 2013) The risk in relying on familiar thriller tropes is that while they can provide structure, they can’t, in themselves, substitute for wit and originality.  It’s not a bad idea to propose as a premise an American tourist in Spain getting caught in a complex web of espionage thrills and double-crosses, but it has to be handled with some competence.  Alas, The Cold Light of Day is a purely generic product down to its meaningless title, and a roster of familiar actors can’t save the film from by-the-number plotting, familiar plot points, murky motivations and tedious pacing.  Henry Cavill gets (and fumbles) a chance to prove himself a contemporary action hero as he finds himself alone and running in Madrid, but he’s easy to forget when sharing scenes with Bruce Willis (as a father with a hidden second and third life) and Sigourney Weaver (as an immediately-suspicious high-level intelligence officer).  Much of the film is straight out of the “man running for his life” thriller sub-genre, and while director Mabrouk El Mechri has the occasional good eye for filming action scenes, they feel overlong and perfunctory in the middle of such a familiar framework.  (The final car chase definitely has its moments, but it’s too long by at least half its duration)  While The Cold Light of Day will act as a pretty good showcase for Madrid’s tourist attractions, it’s not much of a calling card for anyone else involved: the characters are uninvolving, the narrative excitement is flat and nearly everything about the film seems wasted.  For a film produced with decent means and known actors, there isn’t much here to distinguish it from a run-of-the-mill TV movie.

  • The Man with the Iron Fists (2012)

    The Man with the Iron Fists (2012)

    (On Cable TV, September 2013) Writer/director/actor RZA’s The Man with the Iron Fists is a welcome throwback to the historical martial-arts fantasy subgenre, with good performances from people you wouldn’t necessarily expect in that kind of film.  While the back-story of RZA’s historical universe is complex, the plot itself becomes a well-assorted series of fights between characters, often with super-natural powers.  RZA himself is a bit dull in the honorific title role, but the film’s most remarkable performances come from scene-stealing Russell Crowe (as “Jack Knife”, a hedonistic western knife-fighter) and Lucy Liu (as a bordello madam not to be crossed), alongside such notables as Rick Yune, Cung Le and Byron Mann.  It’s all meant in good fun, although the strong gore factor takes away a bit of the enjoyment for viewers who like their fighting action to be a bit cleaner.  While The Man with the Iron Fists isn’t all that special in its own subgenre, it’s an endearing attempt as a pastiche, and the American origin of the film doesn’t really betray its indebtedness to an entire genre of Asian cinema.  It may best be seen by viewers who, like me, used to like a lot of that stuff and are now looking for some more.

  • Oblivion (2013)

    Oblivion (2013)

    (Video on Demand, September 2013) For all of the nice things I have to say about Oblivion, there’s something just… off in the way it comes together.  The first few minutes don’t quite establish the required suspension of disbelief required for it to work smoothly: The visuals it presents don’t make a lot of sense and the pandering to modern lowest-denominator audiences seems blatant (let’s see: Yankees cap, Football stadium, dog, motorcycle and a cabin in the woods.  Yup, just one regular guy, no wacky sci-fi to see here…)  For viewers used to prose science-fiction Oblivion seems to pivot entirely on a familiar cognitive breakthrough structure, and the way it self-importantly reveals its secrets is a bit annoying, as if it expected audience’s minds to be blown apart by fairly obvious reveals.  The plot doesn’t quite seem to hold together the longer you look at it, and the visuals it shows (combining a ruined New York with what looks like epochal landscape alteration) are so nonsensical as to make anyone’s head hurt.  But let’s focus on the positive for a moment: It’s a science-fiction film that’s not explicitly based on existing intellectual properties, it features relatively original imagery (the “house in the clouds” is particularly nice) and it has the willingness to combine familiar tropes into a somewhat cohesive whole.  For writer/director Joseph Kosinski, it’s certainly a step up from the pretty-but-vapid Tron: Legacy.  Tom Cruise is overbearingly Tom Cruise-ish in the lead role (see “Yankees cap, football, motorcycle” above), but the supporting performances by Morgan Freeman, Andrea Riseborough and Olga Kurylenko bring a bit of balance in the film.  While there’s little that’s objectionably wrong in Oblivion, it doesn’t click either, and that’s a more crucial problem in SF movies than in other genres due to the required suspension of disbelief.  While it certainly looks nice and feels more original than yet another sequel of a comic-book movie adaptation, it doesn’t seem to have enough heft to it, and given the nature of the film’s revelation it’s hard imagining watching this a second time for fun.

  • Olympus has Fallen (2013)

    Olympus has Fallen (2013)

    (Video on Demand, September 2013) For everyone who thought that overly patriotic high-concept action movies had gone out with the nineties, the good news is that Olympus Has Fallen doesn’t merely exist, but is the first of two “White House taken over by terrorists” films released in 2013.  We’ve come a long way from 9/11 when such big-budget high-concept action movies can be released widely, and that’s a good thing.  Whether the films are any good is another subject entirely, and watching Olympus Has Fallen, it’s clear that while it occasionally hits its mark, it doesn’t quite understand part of what made those 90s action movies so enjoyable.  In a few words: PG-13 action over R-rated violenceOlympus Has Fallen, rated R, seems overly violent, profane and humorless for what is supposed to be popcorn entertainment in the Die Hard mold.  It tries to be broadly amusing with funny quips and overdone action set-pieces, but then it plasters its dialogue with useless profanity and revels in showing gory violence (some of which perpetrated gleefully by the so-called hero).  The result can’t very well be watched with the kind of carefree fun that PG-13 action films usually create: you’re always on guard for the next excursion in violence and gratuitous language.  It doesn’t help that Olympus Has Fallen has little wit, charm or grace: Gerald Butler is merely OK as the lone operator chasing down the terrorists within the White House –anyone else could have done just as well.  Morgan Freeman sleepwalks through another presidential role, and while it’s good to see Angela Bassett get another role, this one won’t leave any lasting impression.  Director Antoine Fuqua is a seasoned veteran who knows how to put together an action scene, but he seems hampered by sub-standard CGI work (some of the C-130 gunship sequences look unfinished) and a script that never exceeds the perfunctory and seems to forget how to tie up (or even acknowledge) loose ends.  Olympus Has Fallen is watchable, but it’s not hard to complain about various elements that could have been improved to produce a better film.  Now let’s see if White House Down does any better… [January 2014: Yes, White House Down is quite a bit better.]

  • Dirty War (2004)

    Dirty War (2004)

    (On Cable TV, September 2013) Watching this HBO/BBC film docu-drama about the possibility of a terrorist “dirty bomb” detonating in central London occasionally feels like an educational obligation: Dirty War is a procedural thriller trying to stick closely to consensual reality, and the result is a gritty, down-to-earth depiction of things that could happen at the expense of more conventional suspenseful thrills.  While the first half-hour is occasionally tedious, it does create an atmosphere of verisimilitude that becomes engrossing once the truly bad things start happening.  There are only a bare number of heroics here, with a conclusion that seems as grim as potential reality once containment breaks down and everyone has to acknowledge the consequences of the detonation.  Dirty War certainly isn’t feel-good film, and writer/director Daniel Percival’s grainy handheld cinematography sells the illusion of a quasi-documentary better than expected.  The film also has the merit of reflecting, in a non-hysterical but still highly sobering fashion, an entire decade’s worth of bottled anxiety about nuclear terrorism –and the somewhat measured tone helps the film stay current and effective a decade later.  (It helps that it’s somewhat ambivalent about the official government party line: hopeful about the abilities of the people involved, but somewhat skeptical about the ability of the government to manage a crisis)  There are even a few remarkable performances here, most notably Alastair Galbraith as a street-level worker stuck in an impossible situation, and Koel Purie as a voice-of-moderation Islamic policewoman.  Dirty War amounts to a slow-burn film that works quite a bit better than expected from the first few minutes… and certainly sticks in mind longer than the average shoot’em up Hollywood terrorist action movie.

  • The Great Gatsby (2013)

    The Great Gatsby (2013)

    (Video on Demand, September 2013) As a certified Moulin Rouge fan, I had been waiting a while for Baz Luhrmann to return to the same overblown wide-screen film style.  Fortunately, the wait is over: The first half of his adaptation of F. Scott Fitzgerald’s The Great Gatsby is crammed with visual excess, lush 3D cinematography, frantic energy and flashy camera work.  As a way to portray the excesses of the Roaring Twenties (along with a not-so-anachronistic hip-hop soundtrack), it works splendidly and I can see myself gleefully revisiting that part of the film before long.  The film reaches an apex of sorts as it magnificently introduces the titular Gatsby (a perfectly-cast Leonardo DiCaprio) with fireworks and a wink.  Toby Maguire makes for a good everyday-man audience stand-in through this madness and the film eventually calms down during its increasingly somber second half as the true themes of the story play out and reach their tragic conclusion.  Luhrmann is the real star of The Great Gatsby, but the actors he brings on board all have their chance to shine.  I’m not a fan of Casey Mulligan, but she couldn’t have been better that she is here as a flapper; Joel Edgerton also does well as he goes toe-to-toe with DiCaprio.  As an adaptation, the film faithfully keeps the plot, overplays the symbolism, dispenses with a few subtleties, adds a framing device that’s not entirely useless and provides enough of a thematic slant on the material to keep fans of the book arguing in depth about intended meaning.  On a surface level, The Great Gatsby is well worth-watching for its visual sheen (especially its first 30 minutes): this is an indulgent, no-budget-limits style of filmmaking that I enjoy tremendously, and as a way to present a classic curriculum novel, it’s invigorating.

  • Goon (2011)

    Goon (2011)

    (On Cable TV, August 2013) What could be more Canadian than a comedy about hockey? Here, Seann William Scott turns in one of his best performances as Doug, a somewhat dim-witted bouncer who unexpectedly proves to be a more-than-competent hockey enforcer.  The role of goons in hockey isn’t glamorous –essentially, they’re there to protect more talented players or to target opposing players–, making Goon’s frequently sweet-natured off-ice atmosphere seem all the more remarkable.  While the film doesn’t shy away from bloody violence, Scott’s performance as Doug (a really nice guy who just happens to be good at fighting) is enough to balance the excessively profane comedy most frequently mouthed by co-writer Jay Baruchel.  Goon is relatively well-shot, decently scripted (especially in the details) and benefits greatly from Liev Shreiber’s late-film appearance as a veteran goon.  While the ending is abrupt, the romance less than convincing and some of the profanity/gore is excessive, Goon remains a bit of a pleasant surprise, and something that Canadians won’t be too embarrassed about.

  • Silent Hill: Revelation (2012)

    Silent Hill: Revelation (2012)

    (On Cable TV, August 2013) I’m not sure anyone was asking for a Silent Hill sequel, but there it is.  And there’s just about no reason to watch it.  The plot is instantly forgettable, the mythology is borderline-incomprehensible, the scares are decidedly ordinary and the actors are merely serviceable (although it’s fun to see Sean Bean alongside Kit Harington playing a teenager outside Game of Thrones, and Adelaide Clemens really does look a lot like Michelle Williams).  What Silent Hill: Revelation does have going for it are occasionally moments of oppressive atmosphere in the tradition of the first film.  They are farther apart that could be expected, though, as about half the horror set-pieces end up feeling contrived, badly adapted from other superior films or simply more grotesque than chilling.  Otherwise, that’s pretty much it.  Sharp-eyed viewers will easily spot that the film was shot in Canada (the bilingual notices on the school-bus being a dead giveaway) but that’s really not enough to warrant a look for such a dull film.