Author: Christian Sauvé

  • Hot Tub Time Machine (2010)

    Hot Tub Time Machine (2010)

    (In theatres, April 2010) It used to be that high school jocks beat up nerds and took their lunches.  Now, in this kinder and gentler world, they’re just stealing their movie ideas and using them in frat-boy comedies.  I kid, but not much: for if time-travel is the conceit at the core of Hot Tub Time Machine, it’s about the least science-fictional science fiction film of the year so far. The time-traveling becomes a pretext for jokes at the expense of the eighties, in a plot generously watered in alcohol, crass language, loose morals and enough crude sexual material to fully warrant an R-rating.  Three middle-aged losers wallow at the core of the story, trying to recapture their youthful binge-drinking episodes.  While John Cusack does fine with his usual shtick, he’s almost the only likable character in-between other repellent lunatics and losers.  In-between a dumb-as-dirt fatherhood mystery, constant threats of amputation, plentiful swearing, superficial laughs at eighties fashion and unexplainably homophobic set-pieces, Hot Tub Time Machine isn’t much of a recommendation for R-rated comedies.  There are, to be fair, a number of chuckles along the way, from squirrel jokes to one reference to Hunter S. Thompson.  But little of this manages to patch up the unpleasantness of the rest of the film, which ends up leaving a less than pleasant impression.  If nothing else, consider that the film’s musical highlight is a cheerfully anachronistic performance of “Let’s Get Retarded” in 1986.  The future, as presented by Hot Tub Time Machine, is even dumber than the mid-eighties.  Now that’s saying something.

  • The Man Who Ate the World, Jay Rayner

    The Man Who Ate the World, Jay Rayner

    Henry Holt, 2008, 273 pages, C$28.00 hc, ISBN 978-0-8050-8669-0

    If you’re like me (and, on general principle, I hope you’re not), the notion of a high-end restaurant stands somewhere between irrelevance and affront.  It’s not as if I’ll ever need to go to such a place (or spend that much money on food), and my middle-class populist sensibilities are vaguely disgusted that such places exist as displays of conspicuous consumption.  No matter how much I keep telling myself that expensive multi-starred restaurants are about the experience, I still can’t place them in my universe of five-dollar sandwiches and weekly fifty-dollar grocery bills.

    Fortunately, there’s restaurant critic Jay Rayner to go do the heavy eating in my stead.  In The Man Who Ate the World, Rayner embarks on a quest for “the perfect dinner”, whatever that may be.  Going around the world and making his way to high-end restaurants, Rayner takes the opportunity to reflect on what makes a perfect meal, what justifies such three-star experiences and other related issues coming to mind as he jets between his home base of London and his targets in Las Vegas, Moscow, Dubai, Tokyo, New York and Paris.  The rationale of the book, as stated right after a mock warning not to read it while hungry (“Hunger can seriously affect your ability to concentrate and, after a few pages, you will be incapable of appreciating either the grace or the subtleties of my writing” [P.1]) is to investigate the result of more than two decades’ worth of changes in the upper gastronomy landscape.  Since 1990, haute-cuisine has escaped the confines of Paris and is now to be found in not-so-likely places from Las Vegas to Dubai, neither of whom have much of a local food culture.  What does this mean for the current state of eating around the world?

    Fortunately, Rayner’s not your average restaurant critic.  Born in a showbiz family, he became a solid investigative journalist before turning to restaurant reviewing and novel-writing.  You can feel all of those influences coming together in The Man Who Are the World, as Rayner reminisces about childhood experiences, explores the socioeconomic context of the restaurants ecosystem he’s studying and tells the story of his odyssey like an accomplished raconteur.  While the book may share a superficial resemblance with Anthony Bourdain’s A Cook’s Tour, they’re substantially different: Bourdain’s travelogue is about discovering local foods of the world (and getting drunk along the way) whereas Rayner aims to find commonalities between high cuisine outlets around the globe.  Both of their Tokyo experiences are worth reading in their own ways.  (Incidentially, Rayner does mentions Bourdain on page 145, and not entirely favourably.)

    The first stop on Rayner’s worldwide tour is Las Vegas, a place that has invented itself as a culinary destination thanks to large amounts of gambler-fuelled money infusions.  Never mind the famous all-you-can-eat buffets: Las Vegas is now home to a number of high end restaurants and that’s where Rayner first wrestles with the ethics of eating on the house, and restaurants that have to import their foodstuff over hundreds of kilometres given the lack of a local food-growing infrastructure.  In Moscow, Rayner confronts the consequence of a restaurant scene that caters to the unsophisticated oligarchs that have filled the void left by the fall of communism.  Organized crime, kitsch, eye-watering prices and the shadow of the Soviet Empire are all on the menu.  Rayner’s not entirely happy about it all, but the chapter is a lot of fun to read.

    In Dubai, he begins at the Burj Al-Arab Hotel by reflecting that eating at an expensive restaurant is like temporarily living as a rich person without the permanent moral karmic debt that becoming a rich person requires.  A passage about Gordon Ramsay becomes necessary when explaining how Dubai became a gastronomy destination by importing foreign expertise, much in the same way the rest of the city was built.  Not-so-random digressions on trying to keep fit as a restaurant critic and the hollow mirage of authenticity quickly follow.

    However weird Dubai can be, Tokyo is even stranger.  Rayner manages to find ways to eat both well and badly in the Japanese capital, in trying to explain the very different culture that still manages to confound westerners even after decades of cross-cultural influence.  He eats indescribable stuff while doing his best to describe it to us.  He visits a fish market, has an emergency bowel movement, gets lost in trying to find small restaurants and finishes his chapter by telling us about an unforgettable meal in the care of a sushi master.

    Following such a peak experience is tough even in New York, so Rayner changes tactics and goes on a good old-fashioned restaurant crawl alongside food blogger Steve Plotnicki: Five high-end restaurants in a single evening, a sprint that ends up inviting reflections on the relationship between New York and its restaurant, the Zagat guide, Rayner’s Internet gastroporn habit and what a place’s clientele says about it in a passage subtitled “Hell is Other People.”

    London is a return to family, familiarity, bad experiences at expensive restaurants and quite a bit of autobiographical material.  But that’s just a warm-up for the book’s last expedition in Paris, an upper-class Super-Size Me in which Rayner sets out to eat at three-star restaurants every single day for a week.  (It begins with a medical check-up.)  Part of Rayner’s goal is to find out if eating every day at a three-star restaurants makes the experience slide into familiarity.  What he finds out is that while one can get used to rich food on a daily basis, there are still worlds of difference even between expensive restaurants: His good experiences at some places are magnified by the bad ones at others.  Still, it’s impossible to read about his lunch at L’Arpège without feeling a vicarious thrill, especially when the experience at that restaurant alone end up costing him a (low) four-figure sum.

    The conclusion of the book (“Check, Please”) may not be what you’d expect.  In-between reflecting on the state of high-end world cuisine circa 2009 and all of its social and environmental implications, Rayner starts asking himself how long he still wants to stay in the restaurant-reviewing business.  As this review is written, he’s still actively updating his column on the Guardian site… but maybe “not indefinitely.  Just for a while.” [P.270]  After such an all-star tour of the world’s kitchens, who could blame him?

  • Clash of the Titans (2010)

    Clash of the Titans (2010)

    (In theatres, April 2010) Sword-and-sandal epics are worthless without an overwrought sense of melodrama, and that’s the single best reason to recommend Clash of the Titans despite a weak script, inconsistent directing and lacklustre performances by actors who should know better.  Three words from Liam Neeson to convince you:  “RELEASE THE KRAKEN!” (Thesis: All movies are improved by a character shouting “RELEASE THE KRAKEN!”) I don’t recall the 1981 original in enough detail to make useful comparisons, so let us consider this remake on its own terms: a mishmash of Greek mythology, action-movie sequences, and blockbuster fantasy trappings.  Among several better actors playing the pantheon, Sam Worthington doesn’t have much to do drama-wise as Perseus (he gets a team and loses it almost as quickly), but after Avatar and Terminator: Salvation the film should do fine in polishing his niche as the guy to play non-entirely-human action heroes.  He gets to run around in a tunic, fight scorpions, cut the head of Medusa, and all the other things a demigod is expected to do.  Direction-wise, Louis Leterrier’s action scenes are uneven: The scorpion fight takes place in clear sunlight with decently long cuts, but the Medusa and Kraken sequence are a bit of an overcut mess even though the CGI feels a bit better than average.  Still, the fun of the picture lies in the arch leaden quality of the dialogue and the fact that everyone seems to be playing the material as straight as possible.  It’s not great art, it may not even be great entertainment, but it does what it has to do, and that should be enough.

  • How to Train Your Dragon (2010)

    How to Train Your Dragon (2010)

    (In theatres, April 2010) There really isn’t anything new or all that innovative about How to Train Your Dragon, at least from a first glance at the script: The story about a teen outcast discovering inner reserves of courage along with secrets about a terrible menace will feel intensely familiar to anyone over the age of ten.  But it’s all in the execution, and once the end credits roll, the film feels like a satisfying success.  While the film takes a while to accelerate, and too-often passes its time treading over familiar sequences, everything becomes better once we’re in the air along with the dragons.  Jay Baruchel’s creaky voice performance adds a lot to the lead character; while the 3D is so well done that it looks fine even in 2D.  While one may quibble about the pro-dragon propaganda, or the traumatic use of an amputation trope, this “boy and his pet dragon” is slight but competently made.  Older viewers may not remember much of How to Train Your Dragon after a few days, but they’re not its target audience… and they’ll tolerate repeat viewings well enough.

  • Ugly Americans, Ben Mezrich

    Ugly Americans, Ben Mezrich

    Morrow, 2004, 271 pages, C$38.95 hc, ISBN 0-06-057500-X

    After a moderate success as a thriller writer, Ben Mezrich finally found the winning formula with Bringing down the House, a book that blended true facts, blackjack-beating tricks, big winnings and fictional narrative tricks in order to give readers a taste of fast-earned money.  He repeated the formula with Busting Vegas, but in-between those two gambling books came Ugly Americans, “The True Story of Ivy League Cowboys Who Raided the Asian Markets for Millions”.  Some kinds of business, after all, are nothing more than high-stakes gambling and in telling this story, Mezrich describes the life of a young trader who went to Japan and made a small fortune betting even bigger fortunes.

    In some ways, Ugly Americans complements the story of Nick Leeson, the infamous British trader who found himself free to bet big from a faraway Asian trading outpost of the venerable Barings… and literally broke the bank.  The nineties were a good time for traders willing to exploit the wild and mercurial nature of the Asian markets: There weren’t as many players over there than in the saturated American and European markets, the regulations were quite a bit looser than on Wall Street and the line between legal and illegal activity was considerably thinner, much like the line separating organized crime from legitimate business activity.

    It’s in that context that ex-footballer and recent graduate “John Malcolm” is hired to execute orders from an expatriate trader living in Japan.  Sent to Osaka despite knowing next to nothing about Japan, Malcolm grows under the tutelage of his boss, experiences a massive earthquake first-hand, falls for the daughter of a well-connected businessman, finds himself working far too close to Nick Leeson and survives in-between loud bar crawls, conspicuous consumption and power demonstration by elements of the Yakusa.

    There’s something both exhilarating and repellent in Mezrich’s trademark glorification of people having more money than sense.  The fact that they are making it from trades rather than gambling makes little difference in the way Mezrich portrays them.  Fast cars, expensive prostitutes and wild parties: These, apparently, are what money gets you if you’re in the right place and the right time to take advantage of the system.  Just like a sports movie, Ugly Americans ends with a Big Score that allows the protagonist to step back from the madness, but not before (in Mezrich’s familiar dramatic arc) a friend is severely affected by the rough trade in which they are involved.  You can almost feel the author react gleefully to the presence of the Yakuza in his story: They’re the perfect shadowy menace, acting in all-powerful positions within a Japanese society that is, we’re told in not-so-subtle terms, inseparable from organized crime.

    But what are a few xenophobic comments for an audience looking for a few thrills?  It’s not as if Merzich swears fealty to truth: Like his other so-called non-fiction books, he obscures enough details to protect the identity of his sources and rearranges so many events for maximal drama that the entire narrative can be read as fiction.

    What’s more embarrassing to admit is that it works: Ugly Americans is a quick and enjoyable read, a vicarious look at another culture and a completely different lifestyle.  It’s best to ignore some of Mezrich’s most obviously pumped-up melodramatic moments (although the juxtaposition of an ethics class with a description of the Leeson meltdown is worth a few smirks) but otherwise Ugly Americans is a splendid read halfway between a confabulating business memoir and a practical advice manual on why westerners should avoid doing business in Asia.

    This isn’t to say that the real story is unavailable to those who want to dig a bit.  A quick look at online reviews of the book will uncover a number of revealing mistakes, and a few credible-sounding guesses as to the identity of the trader on which Ugly Americans is based.  People who know quite a bit more about trading –and more specifically westerners trading in Japan during the mid-nineties– will be able to piece together the real story and point out which part of the book are obvious nonsense.  For the rest of us, though, it’s another typical Mezrich dramatic non-fiction book; good enough to escape and imagine life as a high-roller, moral scruples temporarily suspended.

  • Your Hate Mail Will be Graded, John Scalzi

    Your Hate Mail Will be Graded, John Scalzi

    Tor, 2010 reprint of 2008 original, 368 pages, C$17.99 pb, ISBN 978-0-7653-2711-6

    Books often have complicated publication histories, and so it is that the content of Your Hate Mail Will Be Graded: A Decade of Whatever, 1998-2008 first existed as blog posts, then as a limited edition book from Subterranean Press before being republished by Tor for the mass market.  It also won a Hugo between the first and second edition of the book: The Tor edition is the first book I’ve seen with the new “Hugo Award” logo printed on the back.

    Your Hate Mail Will Be Graded is an attempt to present the best posts of the first decade of John Scalzi’s Whatever blog in book form.  Scalzi is now often best-known as a science-fiction writer, but his blog usually presents a mixture of pop-culture, politics, writing advice, autobiography, takes on the controversies-du-jour and, generally speaking, anything else that catches his interest.  Thanks to a background that includes a degree in philosophy, corporate writing assignments, science-fiction novels and a newspaper column, Scalzi writes in a way that is entertaining no matter the subject.  Whatever presents an addictive blend of clear prose, amusing writing, serious arguments, original reporting and a keen understanding of what keeps a readership coming back for more.

    Since I’ve been reading Whatever for about five years, much of the book feels familiar: A number of Scalzi’s best-known pieces, such as the “Being Poor” op-ed [P.297], “10 Things Teenage Writers Should Know About Writing” [P.213] or the trip report from the Creation Museum [P.135] are reprinted here, alongside pieces I had enjoyed at the time but re-discovered while reading the book, such as “I Hate Your Politics” [P.181], “The Lie of Star Wars as entertainment” [P.119] and “Unasked-For Advice to New Writers About Money” [P.253]  Finally, there’s the first half-decade of Whatever that I never got to read in real-time, the best bits of whom are reprinted here, including a “Best (…) of the Millennium” series dating from 1999.

    John Scalzi having a lot of experience as a reviewer, it’s no surprise to find him providing hints in his introduction by pointing out the ways in which Your Hate Mail Will Be Graded can be enjoyed: As an early collection of the “blog post” form, as a cultural capsule of the eventful 1998-2008 decade or as pieces of purely entertaining writing.  He’s right on all count, of course: Reading this book is like digging into a bowl of popcorn… it’s difficult to stop before the end.

    But as I try to flip back through the book to find specific posts and titles, I am also reminded of the most annoying “feature” of the book: A deliberate lack of organization or, as the back cover boasts, “a decade of Whatever, presented in delightfully random form, just as it should be.”  The pieces aren’t arranged chronologically, thematically or by word count.  There are no sub-headers at the top of the pages, nor anything looking like a table of content or an index.  Want to find that piece that discussed that thing you liked so much?  Start flipping through the book, because there’s no other way to find what you want.  A note at the beginning of the book further states that this is to replicate the Whatever reading experience, but that’s pushing adherence to the blog form a bit too far: Web readers have access to chronological archives and a search engine.  Book readers are, well, stuck with a shapeless mess.  Might as well go to Google and start searching site:scalzi.com because as a reference, Your Hate Mail Will Be Graded is actively hostile to any kind of organization.

    This nit-picky bibliographical nit aside, Your Hate Mail Will Be Graded is about as good as the “Collection of Blog Posts” form ever gets.  Scalzi’s writing is compelling even outside the context of a web browser, and the look back at some of his earlier posts show little difference from the latter, more widely-read pieces in terms of sheer reading appeal.  It may even earn Scalzi a few new fans while his current ones wait for his next novel.

  • Flicker, Theodore Roszak

    Flicker, Theodore Roszak

    Bantam, 1992 reprint of 1991 original, 672 pages, UK#6.99 pb, ISBN 0-553-40480-6

    A dead movie reviewer recommended this book to me.

    OK, so he wasn’t dead at the time, nor was he addressing me in particular, but I was an avid reader of the Usenet group rec.arts.movies.current-film in 2003, at the time the much-missed Toronto-based film critic Peter Harkness wrote a recommendation for Theodore Roszak’s Flicker.  I can’t say that I hunted it down in any serious fashion, but the book stayed in my mind and when I happened to see copies in a dealer’s room at a British SF convention in early 2010, I immediately grabbed a copy.

    And what a great recommendation that was.  Flicker’s slug-line is “Sunset Boulevard meets The Name of the Rose”, and that does manage to give an idea of the movie trivia and occult knowledge that are blended so successfully in Roszak’s novel.  It’s a coming-of-age story that becomes a historical investigation before turning a horror novel.  It’s crammed with real and invented detail, and not even the radical technological changes that have happened since 1991 can manage to completely defuse its paranoid premise.

    It starts leisurely enough, as a young Los Angeles man interested in movies during the fifties is taken under the wing of a complicated woman for whom movies and life are inseparable.  She understands films like few others, and her tutelage of our narrator is part argument, part passionate bedroom exertion.  Our protagonist is warped by the experience, but his true fall down the rabbit hole of Flicker starts at a wild Hollywood party in which they manage to steal a treasured movie from collectors.  Alas, it’s not the film canister they’re looking for, and so they end up with a film by mysterious German director Max Castle.  The film has a raw horrific power that neither character can understand, and so begins our protagonist’s journey to discover the truth about Castle’s movies… and then the real story behind Castle himself.

    The first third of Flicker can be read as an affectionate homage to the (maybe) more innocent fifties and sixties, an era where students discussed movies with passion, and Hollywood existed as a playground to the stars.  There’s a great portrait of a small hole-in-the-wall cinema, and a nostalgic depiction of what it felt to be a young man living on a mixture of eroticism and pure love of cinema.  The copious amount of period detail is all the more astonishing once we realize that the novel was written well before the rise of the Internet and wide availability of historical film information.

    But as the Max Castle mystery grows deeper, the novel shifts gear to something darker.  Something isn’t right about Castle’s movies, and this mystery soon comes to envelop our narrator’s life.  There are tricks inside those films that go well beyond subliminal messages to directly manipulate viewers’ brains.  As our narrator finds out more (twice getting information by sleeping with aging movie stars), the novels grows more and more sombre: Castle wasn’t the only one out there with the knowledge to manipulate people through the flicker of movies… nor the worst one.

    As Flicker advances, it also dives deeper into a conspiracy theory that blends religious history and manipulation –movies not only being used as instruments of propaganda, but of social decay.  By the end of the book, Roszak makes an argument that purports to explain the acceleration and depravity of modern pop culture, using a number of outrageous fictional examples.  It’s an effective creep-fest as long as you don’t think too much about the overblown darkness of the author’s vision, or how crime rates have declined quite a bit since when this book was written.

    It’s too bad that Flicker moves too leisurely to sustain the impact of its conceit, and often gets lost in the meandering of its own conspiracies.  A tighter third act could have helped the novel keep some of the impact that dilutes away in its extended epilogue.  Obviously, it’s best suited for hard-core film geeks: while casual moviegoers will like it, those with more historical knowledge of films will enjoy the references even more.  Still, it’s quite a wonderful reading experience: The dense narration is interesting, and the conspiracy theory is fit to momentarily blow anyone’s mind…

    But there’s a reason why Flicker keeps much of its cult appeal even today.  It may even have inspired a few other works since then: Ramsey Campbell’s The Grin of the Dark runs along the same lines as Flicker, with a hero tracking down a demonic director using resources that include the Internet Movie Database.  As Harkness suggested in his recommendation, this isn’t one of the many novels about Hollywood and filmmaking; it’s a novel about movies and the experience of watching them.  Now that it’s back into print, it ought to move up on any film buff’s reading list.

  • London, Edward Rutherfurd

    London, Edward Rutherfurd

    Fawcett, 1998 re-edition of 1997 original, 1126 pages, C$8.99 mmpb, ISBN 0-449-00263-2

    I went through much of James Michener’s back-catalogue a long time ago, but no one else since then has managed to re-create the kind of sweeping epic stories for which he was known.  In novels like Chesapeake, Michener told the story of geographical areas over centuries and generations of the same families.  Places may have been the subject of his books, but the families were his characters and the impact of seeing stories unfold over decades could be profound.

    So when I announced my plans to go spend a few days in London, I gladly accepted a recommendation to read Edward Rutherfurd’s brick-sized London.  I could spend my time on City-bound public transportation reading about the place I was exploring.  It made perfect sense: after all, one of my most useful travel tips is “bring the heaviest, densest paperback you can find”.

    London certainly weighs in on the heavy side: At more than 1100 dense pages, the paperback has a heft that hints at the history contained therein.  Describing London from 54 BC to 1997, Rutherfurd’s novel begins with maps of the city, and a chart of character names that extends over two thousand years and nearly a dozen families.  The stage is set for an epic.

    What we get is more akin to 20 short stories (some of them longer than others) taking place over London’s eventful history.  The families often become more important characters than members of any particular generation, as the haughty and dishonest Silversleeves battle it out with the long-time citizen Doggets, the tenacious Bulls or the swashbuckling Barnickels.  Every fifty pages or so, the narrative stops and another one begins… sometimes years, sometimes centuries after the previous one.  As London grows around the families, we get a sense of the development of the city, learn a few factoids and are enlightened about the reasons things are so.  It all reaches a climax of sorts during World War Two’s Blitz, as a millennia-old treasure comes back to haunt the descendants of those who lost it.

    As a fictional tribute to a world-class city, there’s no denying that London meets its goals: It’s a grand-scale epic in the old meaning of the term.  More than a hundred characters throughout London’s lengthy history often lead us back to the chart of who’s who in the chronology.  The amount of historical research that has crafted the novel is astonishing and convincing at once.  It’s an amazing achievement, and yet it could have been just a bit better.

    Referring to Michener is useful, in that Michener understood that families became characters in their own right, and through generations, enjoyed dramatic arcs that paid off at the climax of the book.  While Rutherfurd does make use of that principle to create a narrative that spans the short stories of each era (such as the strange and sometimes frustrating changes in fortune for the Doggetts), his family fortunes don’t always unfold in dramatically rewarding fashion, and that’s part of why he doesn’t quite manage to make the ending of the novel resonate as much as it could have.  The Silversleeves, perfect antagonists as they are, essentially disappear from the book’s last third and their sudden reappearance isn’t entirely satisfying.  London’s overall dramatic arc isn’t as gripping as it could have been, and a number of loose threads could have been tightened far more efficiently.

    Then there’s the heaviness of Rutherfurd’s prose which may be off-putting to readers who aren’t used to lengthy historical epics.  I will blame planes, trains and busses for not reading every single sentence carefully; nonetheless, few will be faulted for reading chunks of the book diagonally, trying to get to the next fascinating part: London isn’t always interesting, as you would expect from a loose assembly of twenty short stories.

    All of this being said, I still keep a very fond memory of reading London on the plane landing at Heathrow, in the Tube, and on the train bringing me back to London from Brighton and (later) Paris.  It tickled my neurons pleasantly to be stuck in a feedback loop where I would read about the sights I was about to see, or just did see, and gain just a bit of extra context by picturing the events of the book taking place around me.  In one amusing case of reality/fiction feedback, I ended up mystified by “Petty France Street” for a few hours until the novel explained why it was named so.  If there’s a better way of reading London, I can’t imagine it.

  • Imperial Life in the Emerald Palace aka Green Zone, Rajiv Chandrasekaran

    Imperial Life in the Emerald Palace aka Green Zone, Rajiv Chandrasekaran

    Vintage, 2010 movie tie-in re-edition of 2006 original, 365 pages, ISBN 978-0-307-47753-8

    It’s bad enough that the 2003 American invasion of Iraq was an exercise in imperial power projection legitimized by spurious intelligence reports and an orchestrated public-relations campaign: it wouldn’t have been so bad if the whole thing had been neatly wrapped up in a few weeks, followed by a tidy “Mission Accomplished” ceremony.  But no; as history rolls on, the country is still dangerous seven years later, with American soldiers still fighting it out with local insurgents.  Aside from the whole issue of not invading countries unless there’s a good reason to do so, what went wrong?  Why were Americans unable to foster a smooth transition from Saddam Hussein’s regime to a peaceful Iraqi democracy?

    Journalist Rajiv Chandrasekaran was on the ground for much of the first year of the American occupation of Iraq.  With Imperial Life in the Emerald Palace, he describes the tragedy of errors that characterized the initial efforts to run the country after taking military control of it.  Winning a war is easy when you have an army that get more than half of the world’s total military expenditure.  Keeping the peace, though…

    The best chapter of the book remains the first, “Versailles on the Tigris”, which describes the surreal life in the Green Zone surrounding Saddam’s Republican Palace, an area of Baghdad reserved for the foreign nationals taking over the country.  This oasis of Americana had Doritos, alcohol, sunbathing, DVDs, bacon, American flags –everything to remind staffers of home, “home” often being the southern USA.  Even in faraway Baghdad, US politics remained omnipresent: Staffers were often political operatives associated with Republican interests, sometimes young enough to allow enthusiasm to triumph over experience and knowledge.  (“More than half… had gotten their first passport in order to travel to Iraq.” [P.17])  Many of them spent their entire stay in Iraq within the fortified walls of the Green Zone.  If they weren’t working directly for the US government or military, then they were employed by the many corporate sub-contractors.  And yet they had electricity, running water, relative peace and security… quite unlike the Red Zone outside.

    Such contrasts go a long way to explain how Americans exhausted the initial supply of goodwill that accompanied their invasion of the country.  But as Chandrasekaran describes, the year in which the American-led Coalition Provisional Authority (CPA) led Iraq simply made things worse.  The blame starts at the top, with the ideology leading the so-called reconstruction of the country.  Led by neoconservative leadership, the CPA set out to remake Iraq as a beacon of what a pure market economy would be, ignoring local customs in trying to install a right-wing system at all costs.  Never mind that you shouldn’t trust anti-government people to run a government: One of the most pernicious impacts of this top-down mission to remake Iraq at the image of the Bush-era Republican Party was that fairly competent reconstruction experts were sidelined and replaced by people whose biggest credentials were ideological.  Loyal staffers, often far too young to have any experience in the areas they were asked to manage, came from Republican political ranks and often went back to the Bush/Cheney 2004 re-election campaign once their tour of duty was done.  (Interestingly, some of the most capable people on the ground in Iraq were military personnel: regardless of rank, they knew their area of expertise and –whenever allowed to act– were generally able to complete their assigned tasks.)

    Everyone on the ground meant well, of course; Chandrasekaran’s portrait of CPA staffers involved is generally sympathetic, even when it’s clear that they’re out of their depths.  But meaning well and doing well isn’t the same, and much of the book is a description of unbelievable blunders caused by a lack of expertise, ideological straightjackets, overuse of for-profit contractors and US partisan political considerations.  When a country is crying out for stable electricity, water, government and police, it’s not such a good idea to start by privatizing everything in sight (especially when no one is interested in buying), trying to implement a high-tech stock exchange, getting rid of competent military personnel and copying US State traffic laws.  But ideology often makes people do strange things…

    Perhaps the biggest strength of Chandrasekaran’s book is how clearly it manages to present a complex set of issues, through mini-narratives reconstructed from documents, interviews and his own work on the ground.  There’s a great passage in the chapter named “A Yearning for Old Times” that manages to vulgarize the complicated mess that was Iraq’s electrical infrastructure problems, and how it was made worse by greedy contractors, dumb budgeting and an emphasis on short-sighted repairs rather than infrastructure renewal.  Much of the book is just as easily readable, helped along by a strong streak of black comedy at the ineptitude of the American effort.

    It goes without saying that, as easy to read as Imperial Life in the Emerald Palace can be, it’s also an upsetting experience.  There’s a basic trust from citizens, whenever the government spends a few trillion dollars doing something, that a basic level of administrative competence will be met in working toward the project’s goals.  It’s one thing to disagree with neoconservative on the need to transform Iraq into a free-market heaven.  But if it works, then the debate becomes moot.  Alas, what happened in Baghdad in 2003-2004 was a failure of governance: the occupation was so incompetently mismanaged that it burned through the reserves of Iraqi patience after the fall of Saddam’s government and ignited a good chunk of the insurgency that followed.  (De-Baathification, which drove thousands of experienced soldiers in the cold rather than try to contain them in the existing hierarchy, was one of the biggest mistakes of the occupation’s first year.)  One can point at Iraq circa 2010 and claim that it’s finally working (something still very much under discussion), but there’s a credible claim that if the CPA had actually listened to its reconstruction experts, exerted greater control over its subcontracting, embraced local talent and respected Iraqi customs, then far less money, hardship and lives would have been required to get to a better result.

    But that may remain a matter for alternate historians and partisan bloggers.  Until we can get trans-dimensional media reports, there’s Chandrasekaran’s book to detail the mistakes that were made, hopefully so that nothing like that can ever be allowed to happen again.

    [March 2010: One final note on the relationship between the book and the Paul Greengrass’s Green Zone movie: As Greengrass’ foreword in the movie tie-in edition of the book states, Imperial Life in the Emerald Palace provided the context in which the original story of the film takes place.  Sharp-eyed readers will spot a number of background details in the film that are taken straight from the book: So it becomes a rich contextual briefing for the film if you happen to read the book first, or an expansion of the setting of the movie if you read it afterward.  Either way, it’s a well done adaptation that fully exploits the strengths of both medium.]

  • Kick-Ass (2010)

    Kick-Ass (2010)

    (In theatres, March 2010) Every year, there are now a few movies that make me feel old.  Old, as in having finally escaped the sociopathic, bloodthirsty, surface-obsessed 16-32 age bracket.  Old, as in rolling my eyes at conscious attempts at shock spectacle.  Old, as in not being overly amused by films catering to the comic-book crowd that thinks that R-rated films in which they have to sneak into are necessarily better than anything else.  Old enough, in short, to be left cold by Kick-Ass’s deliberate crassness, buckets of spilt blood, titular profanity and general hypocrisy.  Nominally a “realistic” attempt to fit super-heroes in the real-world, Kick-Ass ends up in the same super-heroic fantasy world it claims to avoid in the first few minutes.  Compared to Mark Millar’s original comic book (which is quite a bit harsher, although not that much more respectable), the film is generally lighter, often better-structured and ends on the kind of conclusion fit to leave anyone exit the theatres whistling happily.  Never mind the sociopathic 12-year-old girl that murders without remorse, the convenient Mafioso villains or the jaundiced view of an alternate world where super-heroism is needed.  There’s a reason why I never fit into comic-book culture, and Kick-Ass only reminded me of about a dozen of them.  And yet, despite everything (and the blood-thirsty jackals braying for gore and laughing inappropriately during my screening at the Brighton Odeon), I still found a lot to like in this film.  The rhythm is energetic, Matthew Vaughn’s direction shows moments of inspiration, Chloe Moretz is more adorable as a tween killer than you’d expect and the movie features not one, but two tracks from The Prodigy’s Invaders Must Die album.  When it works, Kick-Ass is a darkly comic film that almost has something to say about superhero power fantasies.  When it doesn’t, though, it’s just another reminder that I’m now over the hill in terms of pop entertainment.  Now let me shake my fist at those lawn-trampling younglings and mutter unintelligibly in my creaky rocking chair.

  • The City and the City, China Mieville

    The City and the City, China Mieville

    Del Rey, 2009, 312 pages, C$30.00 hc, ISBN 978-0-345-49751-2

    Every China Miéville novel is an experience, but I don’t think I was expecting what I got from his latest The City and the City. For the book answers one question that I’ve been reluctant to ask: Is it possible to enjoy a novel during which disbelief is never suspended?

    Funny thing, disbelief: While we can probably agree that fiction should strive to represent the human condition as best as it possibly can, those ideals of realism quickly seem to go flying out of the window once we’re dealing with speculative fiction.  After all, suspension of disbelief becomes a necessity and a prerequisite to get any enjoyment out of stories set knee-deep in aliens, elves and blood-sucking fiends from other dimensions.  Not that SF/Fantasy elements are the only thing that require disbelief: In recent years, I have found myself increasingly unable to get into stories with strong libertarian or even right-wing worldviews: Once I start muttering “It doesn’t work like that!”, it’s hard to follow without nit-picking everything in sight.  But while SF readers have long been conditioned to accept whatever premises authors require of them for the rest of the story, what happens when the premise can never be accepted?

    So it is that The City and the City first appears to be a standard murder mystery: A woman’s body has been discovered, and it’s up to our hero to puzzle out the events leading to her murder.  Soon enough, though, we get to realize that this isn’t a simple mystery: Our protagonist is not living in one city, but a city that is intermingled with another one, each with separate zones that can be accessed though controlled entry points.  Different languages, different cultures and different laws: Citizens of the two cities are trained from the youngest age to consciously ignore each other until they become blind to the other city.

    I’m not doing the concept any justice by stating it as blandly as this, but you can probably see the problems already.  Suffice to say that throughout The City and The City, I kept repeating to myself that this concept was nonsense, that it wouldn’t work like that, that it had more holes than a screen door, and so on.  I won’t even try a pitiful “…but Miéville makes it work!” because frankly, it never worked for me.  Not one single page.  I kept imagining kids leaping over fences, teens sneaking behind bushes, businessmen complaining about inefficiencies and governments slapping down this nonsense.

    (Which doesn’t mean that I dislike the idea, or refuse to acknowledge its grain of truth: I suspect that my mental map of cities is very different from others: My downtown is linked between bookstores, Subway restaurants, bus stops and smart shortcuts, whereas even a close friend’s downtown may be riddled by clothing stores, McDonald’s, parking spots and other things I may not care for.  How often, after all, do you walk down a familiar street and suddenly “discover” a building, store or detail that you had neglected for so long?)

    And yet, I found a lot to like about The City and the City.  Its lead character is a likable hero, even though his narrative arc is intensely predictable once the mysteries of his universe are revealed.  More importantly, it features perhaps Miéville’s most accessible prose so far: While I have fond memories of the baroque storytelling of his debut Perdido Street Station, The City and the City benefits from mean and lean thriller storytelling, with a stripped-down style that paradoxically hints at Miéville’s growth as a writer.  It’s quite a bit different from anything he has written before, and that too is quite an accomplishment.

    It amounts to a very strange, uniquely challenging reading experience quite unlike any other.  I may not completely appreciate what Miéville was trying to do with this novel, but I can’t say I’m displeased to have read it despite never completely accepting the reality of its imagination.  If this is a failure, it’s such an interesting one that it barely counts as a problem.  My disbelief wasn’t suspended, but any hasty judgement certainly was.

  • Repo Men (2010)

    Repo Men (2010)

    (In theatres, March 2010) In a generous mood, I would probably praise Repo Men for its satiric vision of a future where synthetic organ transplants are common and expensive enough to warrant repo men going around repossessing deadbeats, leaving them, well, dead on the floor.  I would congratulate Jude Law, Liev Schreiber and Forrest Whittaker for thankless roles playing unsympathetic characters and Alice Braga for something like a breakthrough role.  I would say something clever about the film’s forthright carnographic nature.  I may even have something affable to say about Eric Garcia, who sort-of-adapted his own novel for the screen (the story, as described in the book’s afterword, is far more complicated) and wrote one of the most bitterly depressing movie ending in recent memory.  Heck, I would point out the numerous undisguised references to Toronto (where the movie was shot): the inverted TTC sign, the Eaton center complete with Indigo bookstore, the streetcars, even the traffic lights and suburban streets.  But I am not in a generous mood, because Repo Men is an unpleasant and defective attempt at a satirical action SF film that fails at most of what it attempts.  The characters are unlikable, their actions are despicable, the chuckles are faint and the Saw-inspired gory violence isn’t warranted by anything looking like thematic depth.  It is a literally viscerally repulsive film, and even trying to play along the grim sardonic humour gets increasingly difficult to swallow during self-congratulatory action sequences.  Once the film’s none-too-serious credentials are established, it’s hard to care –and that includes a wannabe-romantic sequence in which internal organs are exposed and fondled.  The ending wants to be witty, but it just feels absurd before it is revealed to be cheaply cynical.  The Science Fictional elements don’t even fit together and the result is a big bloody bore.  Instead, just give me another shot of Repo: The Genetic Opera!: at least that film knew how to balance arch seriousness with a sense of camp.  The irony is that Garcia’s novel is actually quite a bit better than the film –don’t let the adaptation scare you from a novel that does what the film wanted to do in a far more palatable fashion.

  • Repo Men aka The Repossession Mambo, Eric Garcia

    Repo Men aka The Repossession Mambo, Eric Garcia

    Harper, 2010 movie tie-in reprint of 2009 original, 328 pages, C$10.99 mmpb, ISBN 978-0-06-171304-0

    Repo Men can be said to be a dark satire about the flesh and the inner rot of hyper-capitalism, but looking at its movie adaptation and then at the source novel, I can’t help but see both versions of the story as being about tone, the slippery literalization of metaphors and how easy it is to ruin a story by telling it badly.  Because even though the novel and the movie share the same creator, (many of) the same characters and (many of) the same plot beats, I hated the film and thought the novel was an enjoyable piece of work.  How did that happen?

    First, the commonalities: In a not-too-distant future, artificial organs have become reliable and sophisticated enough that people don’t make much of a fuss in getting rid of their natural internals and getting better ones.  There’s a catch, of course: said organs are so expensive that they require financing, and if ever you don’t pay, well, the financing company feels completely justified in ripping them out of you.

    (Yes, this is a very similar premise to Repo! The Genetic Opera, which has clear antecedents over Repo Men in having been an off-Broadway play about a decade ago.  But then again, there are examples of that idea in a number of older SF stories, so let’s stop claiming idea paternity.  High concepts aren’t unique diamonds that can be discovered once and thereafter only stolen: Writers can come to the same conclusion from different sources of inspiration, and as this review will keep hammering home, it’s all in the execution rather than the premise.)

    It’s not difficult to come up with a few objections to the organ-ripping nonsense: There’s the slight issue of murdering people by removing their innards that defies a bit of common sense even in a satirical future.  But here’s one crucial difference between novel and movie: Whereas the novel can gloss over the messy business of organ extraction with a few wry sentences and allusions, the director of the film felt it necessary to show the removal in all of its glistening gory glory, along with a smirking narration that felt more psychopathological than amusing.  That’s one way to turn off an audience in less than five minutes and never get them back.

    Prose, for all of its deficient audio-visual qualities, is actually quite a bit better at presenting satire, context, justification and depth.  So it is that even after disliking Repo Men quite a bit, I found myself enjoying Garcia’s novel even as it covered the same ground as the film, except with quite a bit more detail and a number of significant changes to the third act.

    (It would be handy to criticize the film for being a ham-fisted hack-and-slash job on the novel, but the real story, as revealed in the movie tie-in edition’s afterword of the novel, is more a case of parallel development.  This being said, I suspect that films become worse when they’re developed over years of studio interference, whereas novels can only benefit from their writer’s sustained vision.  Still, it is surprising to find out that the film is quite a bit darker in its ending than the book.  This may be a first.)

    Readers coming at Garcia’s novel without preconceptions will find an energetic, tangentially-told dark satire.  The narrator’s story keeps looping back to his marriages, his war experiences, his anecdotes as a Repo Man, the events that have landed him in such a desperate situation, and what happens after that.  Happily, this isn’t a confusing novel even as it hops all over the entire life of its main character: the narration is crisp, the voice of the narrator is enjoyable and the reading experience is top-notch.  As Science Fiction, the details don’t quite make sense (which is to be expected from a satirical novel by a writer seen as working from outside the genre), but this isn’t quite enough to harm Repo Men’s odd charm.

    The lesson may be that I’m a far more lenient reader than a viewer: Perhaps I’m more patient with dense novels than simple movies.  But perhaps it’s also a lesson in how too much is too much, how a dark smile works better in written fiction than on a screen where there’s little wiggle room left to imagination.  But the result is the same: Eric Garcia may have scripted the adaptation of his own novel, but the book is clearly the winner here.  At the very least, it’s got all of its original guts.

  • The Ghost Writer aka The Ghost (2010)

    The Ghost Writer aka The Ghost (2010)

    (In theatres, March 2010) Roman Polanski may be a runaway convicted pedophile, but he sure knows how to direct a movie.  Faithfully adapted by Robert Harris from his own unusually accessible novel, The Ghost Writer starts with an intriguing premise and then accelerates into a full-blown political thriller.  As a ghostwriter asked to help a former British Prime Minister finish his memoirs after the untimely death of his predecessor, Ewan McGregor is sympathetic enough to hold our interest.  Meanwhile, Pierce Brosnan is convincing as the conniving politician.  The fascinating aspects of ghost-writing are strong enough to allow us to settle in the film’s increasingly frantic pacing.  Once our protagonist starts finding clues about his subject’s past, palace intrigue develops and modern accusations come to besiege their quiet beachfront house.  Added interest can be found in The Ghost Writer’s not-so-subtle political allusions to Tony Blair’s administration.  The film’s plot is nearly identical to the book, but it’s really Polanski’s deft touch with suspense that ties up the film in a neat bow.  A number of showy sequences present familiar developments in refreshing fashion, and the deliberate pacing keeps things neither too slow nor too fast.  Some plot kinks are best explained in the book (which is also a bit more aggressive in political themes), but overall The Ghost Writer is a well-made thriller for adults, bringing back memories of classic seventies movie paranoia.  You can say what you want about Polanski, but the result up on the screen is unarguable.

  • Alice in Wonderland (2010)

    Alice in Wonderland (2010)

    (In theatres, March 2010) The good news with Tim Burton is that he is guaranteed to put a vision on screen.  Alas, it may not be the vision you would prefer.  So it is that this loose sequel to the classic Alice in Wonderland is an affront to my aesthetic preferences: At the exception of the oh-so-cute Cheshire Cat, I found the film’s artistic choices ugly.  This is partly intentional; after all, the point of this follow-up is that Wonderland has grown tainted; the magic has fled the land and been replaced by corruption.  {Insert heavy-duty genre fantasy narrative schematics inspired by John Clute here.}  No wonder everything is so repulsive.  The showy use of 3D makes moments of the film look even more incomprehensible and overdone to 2D audiences.  But as hard as it is to ignore Alice in Wonderland’s visuals, the real snore comes from the plot, which feels as Alice filtered through the Lord of the Rings plot template that has informed almost a full decade of genre cinema fantasy by now.  It’s dull, and the overdone shot of the two armies running to clash together has become almost parody.  Alice in Wonderland becomes duller as it goes on, and not even Johnny Depp’s increasingly active Mad Hatter (or Anne Hathaway’s regal presence, for that matter) can do much to redeem the rest of the picture.  It’s a middling fantasy film at best: when “dull” and “ugly” crop up in the same review, there’s little room for favourable quotes.