Reviews

  • The Brothers Bloom (2008)

    The Brothers Bloom (2008)

    (In theatres, July 2009): It’s a familiar and dispiriting feeling to watch a brilliant first ten minutes of a film lead to a good middle hour and then on to an average third act.  So it is that The Brothers Bloom (yes, there’s a meaningful pun in the title given that “Bloom” is the first name of one of the brothers) over-thinks itself all the way into a box stamped “I don’t care anymore”: As a self-aware story about two con artists and their latest (last?) scam, it’s always engaged in a war of deception with its audience, and if that works when the audience is pleased with an ending, it’s not so amusing when the story keeps going where the audience is unwilling to follow.  There was a point, late during the film, when I thought that the film was ninety seconds and ten lines of dialogue away from a happy ending; alas, it just kept going in another darker direction, jettisoning the absurd comedy that was such a highlight of the film’s first sequences.  The Brothers Bloom may not be taking place in our world (what with bowler hats, steamships and cellular phones), but it’s certainly taking place in the con-movie continuum, and its attempts to buck the formula carry a penalty.  It’s a shame that the film we get isn’t the charming offbeat comedy that the trailer and the first half of the movie promised to us.  Oh, it’s not a complete loss: Rachel Weisz has seldom been as captivating as she is as an eccentric millionaire; Rinko Kikuchi is hilarious as a quiet demolition expert; there are a few fantastic moments along the way; and at times it’s handled with an old-fashioned charm that makes one long for far many more movies of that type.  But The Brothers Bloom is easily three twists and twenty minutes longer than it should be, so that by the time it ends on a note meant to make audiences reflect on the nature of storytelling-as-cons, nobody will care as much as they should have.  Card tricks are tough, but movie tricks are even tougher.

  • The Hurt Locker (2008)

    The Hurt Locker (2008)

    (In theatres, July 2009): There can be such a thing as too much of a good thing, and the second hour of this film is a case in point: What starts out as a tight episodic war thriller with uncanny suspense sequences eventually loosens its grip on the audience and meanders on its way to a meaningful conclusion.  Don’t be fooled: even with its loose and predictable third act, The Hurt Locker still is one of the best action films of the year, and one of the best Iraq war movie so far.  But a better-controlled film would have been even more powerful.  Director Kathryn Bigelow makes a welcome return to the big screen and shows from the start that her action sequences can be as good as anything else: The Hurt Locker’s best moments (including the hair-raising image on the poster) are in the half-dozen action/suspense sequences putting us far too close to American bomb-defusing experts working in Baghdad.  This film justifies the whole quasi-documentary handheld-camera aesthetics to a level of clarity that other glossier filmmakers can’t even imagine: As a depiction of war-driven action, it’s as good as it gets –a fortunate achievement for a film that focuses on the adrenaline junkies for whom war is a continuous peak experience.  There are a few familiar faces among the supporting characters (including Ralph Fiennes as a foul-mouthed English mercenary), but it’s the relatively-unknown main characters that make the strongest impression: In particular, Jeremy Renner is a revelation as a loose-cannon protagonist whose motivations eventually become the crux of the film.  Despite the meandering subplots that shed a lot of energy in the latter half of the picture (and the accumulation of inaccuracies to pump up the drama at the expense of realism –how handy that one of our lead sappers is also a sniper!), The Hurt Locker remains a strong piece of cinema, and one of the rare war films about Iraq to make its point with little partisan content.  It’s both exhilarating yet realistic, reaching out to both the action-movie fans and those who think that war is hell.

  • Fear and Loathing in America: The Brutal Odyssey of an Outlaw Journalist, Hunter S. Thompson

    Fear and Loathing in America: The Brutal Odyssey of an Outlaw Journalist, Hunter S. Thompson

    Simon & Schuster, 2000 (2006 paperback reprint), 756 pages, C$21.00, ISBN 978-0-684-87316-9

    This second volume of Hunter S. Thompson’s letters takes us to Thompson’s most memorable years: 1968-1976, spanning not only the eight years of the Nixon/Ford administration, but most of Thompson’s best-know work.  Gonzo journalism was born in 1970 with “The Kentucky Derby is Decadent and Depraved”, with Fear and Loathing in Las Vegas written not too long after, eventually published in the middle of the 1972 presidential campaign that Thompson was covering for Rolling Stones and eventually ended in Fear and Loathing ’72: On the Campaign Trail.  Add to that the continuing echo of Hell’s Angels (1966), his candidacy for Aspen’s Sheriff position, Thompson’s increasing fame and the crystallization of his reputation as a hard-living journalist and you end up with a fascinating eight years.

    What editor Douglas Brinkley has done with this second volume of letters is similar to the work accomplished on the first volume of Thompson letters (The Proud Highway), with a few differences.  For one thing, there are quite a bit more contextual notes to explain passing allusions, which reflects Thompson’s gradual accession to national affairs.  The other difference is that the book reprints a number of letters sent to Thompson, including a number of dark and angry missives from Oscar Acosta, the “Chicano Lawyer” often mentioned in Thompson’s seventies work that was so famously parodied in Fear and Loathing in Las Vegas.  It’s easy to see the rough nature of their friendship, and even easier to see how it breaks down to mutual hostility.  Other notables whose letters are included are Tom Wolfe, George McGovern, Katharine Graham, Pat Buchanan, Jann Wenner, Gary Hart and Jimmy Carter.  There are also, unusually, snippets of Thompson prose that don’t seem to have been reprinted anywhere else –including fragments about his influential experience in Chicago during the 1968 Democratic Convention, where he got caught in riots and beaten up by policemen.

    Many of the notes and caveats about The Proud Highway also apply here: This is the closest we’ll ever get to a Thompson autobiography, especially as it details on a quasi-weekly basis what Thompson is working on.  (Alas, reading the book as it details numerous projects that Thompson never finished is enough to make one wonder about What Could Have Been –am I the only one who thinks “Guts Balls” could have been a splendid Palahniuk-like story?)  It’s a very, very long book, and the low density of content will make it of interest to dedicated Thompson fans.  There are minor revelations here and there, but rest assured that those have already been cherry-picked by the recent wave of posthumous Thompson biographies.  A few photos, some never seen before, are inserted between each year’s worth of letters.

    A few things do evolve, though: Thompson’s worries about money never completely disappear, but Fear and Loathing in America takes place after his move to Woody Creek and the relative peace of mind that a stable home base provided to him.  At the same time, though, Thompson’s prose style finally solidifies in the aggressive gonzo style that he would keep until his death in 2005: the strong-willed but polite southern gentleman of his formative years has ceded place to an obsessive writer whose invectives become legendary.  It’s also worth nothing that, perhaps due to the increased panoply of communication devices available to Thompson as the seventies go on, the bulk of the book takes place before 1975, and the lengthy “here’s what I’ve done lately” letter updates are increasingly replaced by letters regarding specific issues.

    It all neatly sets up the much-awaited third tome of the series: The Mutineer has been promised for years by the Thompson Estate, and was pushed back from October 2009 to June 2010 as I was reading this second volume of letters.  Who knows what awaits in Thompson’s correspondence between 1977 and 2005?  We’ll find out in a year or so… assuming the book isn’t pushed back even further until then.

  • Harry Potter and the Half-Blood Prince (2009)

    Harry Potter and the Half-Blood Prince (2009)

    (In theatres, July 2009): By the time this sixth instalment of the Harry Potter story rolls in, it’s about as critic-proof as it can be: By now, everyone knows how much they like the series and when they’ll catch the next instalment(s).  For reviewers, there isn’t much else to do but comment on the ongoing story and how well the film does as a movie.  The good news this time around is that the direction is generally well-handled, the story holds up for those who haven’t read the book (aside from a few early missteps) and the film feels too short rather than too long, although much of this impression is given by the absence of a few recurring characters.  The big problem with the film, on the other hand, is how abruptly it veers from fluffy teenage high-school drama (With kisses!  And jealousy!  And hormones!) to dark fantasy verging on horror.  There’s a lot more blood in this instalment, and if the first 90 minutes amble loosely in teenage romance territory, the last half-hour suddenly shifts gears, ditches all attempts at humour and races to a major death.  It’s true that the Potter series has been on a steady “darker, more adult” arc since the first volume, but the shift is more noticeable this time around, and maybe not handled as well as it could have been: as usual, read the book to get the full story.  Still, chopping down a fan-favourite 600-pages book in a coherent film is a tough assignment, and perhaps the most amazing aspect of the series so far is how well it holds up as an ongoing whole story: We’re not yet done with the series, and it’s already a landmark piece of cinema.

  • How to Build an Empire on an Orange Crate, “Honest” Ed Mirvish

    How to Build an Empire on an Orange Crate, “Honest” Ed Mirvish

    Key Porter, 1993, 220 pages, C$21.95 hc, ISBN 1-55013-506-6

    If you have never been to Toronto landmark store “Honest Ed”, don’t miss a chance the next time you’re in the area: It’s worth a trip to the Bloor/Bathurst intersection only for a visit.  (It’s a lot more interesting than another trip to the Eaton Centre!)  Once you get past the flashy facade that sports 23,000 light bulbs (go at dusk for maximal impact), there’s the store itself: four floors of merchandise organized in a crazy organically-grown fashion, where stairs, basement, an overpass and crooked floors all work together with the bombastic signage, showbiz relics and deeply discounted prices to produce a multi-layered experience quite unlike anything else in the world.  Even once you think you’ve seen it all, you will end up confronting the cuckoo clock… and you will remember that moment forever.  (Usually with an “OH MY GOSH WHAT IS THAT?”)  Such an accumulation of effects can only exist because the store has existed for decades, constantly adding more details and reflecting the passions of its owner, Ed Mirvish.

    Honest Ed continues to thrive today years after Mirvish’s death in part due to the impression that his personality has left on the store.  Fortunately for everyone, it’s possible to re-live the Mirvish experience thanks to his autobiography, How to Build an Empire on an Orange Crate.  Growing up poor in Toronto in a family of American immigrants, our narrator learns his first business lessons from the family store, before going from one venture to another and eventually founding his own store.  His discovery of the discount merchandising model isn’t obvious, but once perfected the formula becomes hard to resist.  Past the autobiography of his early years, the book’s second quarter section becomes a succession of anecdotes about doing business as “Honest Ed”.  His flair for flashy gimmicks (such as a 72-hours dance marathon for which Mirvish gladly paid store closing fines) becomes a rich source of stories for the book.

    The third quarter details Mirvish’s increasingly diverse activities beyond his store, most notably buying two theatres (one in Toronto, the Royal Alexandra, the other one on London, the Old Vic), expanding their scope in a line of restaurants to feed their King Street theatre patrons, and building a third theatre (the Princess of Wales) in Toronto.  Mirvish approaches those ventures with no preconceived notions, and apparently upended much conventional wisdom along the way.  The last quarter of the book is a series of “121 lessons I never learned in school” that riff on anecdotes about the store, the theatres, the restaurants or the rest of Mirvish’s life.

    As you may expect from such an eccentric character, the book itself is a joy to read with well-written anecdotes, fast pacing, a triumphant attitude and deliciously accessible prose.  Paul King (A Toronto Star reporter who passed away in 2008) is credited in the acknowledgements as having provided “invaluable help in penning and polishing this story”, and a good chunk of the book’s appeal is surely his.  Mirvish himself is a curious mixture of self-humility (“I was the only adult raised by my wife and our son.”) and cocky self-confidence: like the best of books in the “business inspiration” category, his autobiography leaves readers with the sense that nothing is impossible.  There’s an authenticity in Mirvish’s voice, however, that impossible to fake: I ended up reading How to Build an Empire on an Orange Crate the same week that I read Donald Trump’s Think Like a Billionaire and the contrast between Mirvish’s likable persona and Trump’s all-bombast all-self-promotion all-greatest shtick couldn’t have been more enlightening.

    The only exception to the book’s overall geniality and accessibility comes in the odd little moments where Mirvish goes off on rants about government, taxes and regulations.  It’s to be expected, of course: Mirvish’s often-successful fights against city hall are part of Toronto lore, and it’s hard for any entrepreneur to be all that well-favoured toward government taxation or oversight.  But his small-c conservative rhetoric is shockingly naive and may put off a few left-leaning readers.

    Otherwise, it’s a great book that has the merit of having been written just at the right time to herald Mirvish’s greatest successes.  The Old Vic theatre was sold to a theatre trust in 1998 and while the end of some of his early King Street restaurants is acknowledged in the book, all had closed down by 2000.  Mirvish himself passed away in 2007 to much local mourning, but his legacy continues: Honest Ed is still open and busy, while his theatres are still in business in the middle of a revitalized Entertainment District that Mirvish jump-started by purchasing the Royal Alexandra.

    How to Build an Empire on an Orange Crate is currently available on amazon.ca, but with a shipping estimate of one to two months.  It may be better to schedule yourself on a trip to Honest Ed to pick up copies of the book there.  You can’t miss it: excluding the kids’ books, it’s pretty much the only book on sale in the entire building.

    (And if you do go to Honest Ed, turn to your left upon exiting the store and walk down a few meters down Markham Street.  Not only will you see a bit of the “Mirvish Village” local artistic enclave, but you will also find yourself at the front door of The Beguiling, perhaps Canada’s finest comics and graphic novel bookstore.  When I’m in Toronto, I visit Honest Ed’s for the atmosphere… but it’s at The Beguiling that I spend serious cash.)

    [August 2009: There’s no Business Like Show Business… but I Wouldn’t Quit My Day Job is Mirvish’s second book (also ghost-written by Paul King), and it focuses strictly on theatre anecdotes.  Good, funny stories with nary a political point in sight… but it works better if you know a lot about 1960-1990 theatre legends.  ]

  • The American Zone, L. Neil Smith

    The American Zone, L. Neil Smith

    Tor, 2001, 350 pages, C$38.95 hc, ISBN 0-312-87369-7

    Complaining that L. Neil Smith uses his novels to indulge in libertarian propaganda is a bit like commenting upon the kinkiness, depravity and foul language in Chuck Palahniuk’s work: While true, it’s not exactly a new or enlightening observation.  Smith has long been a writer of explicitly-libertarian fiction, and if the result can be unreadable or silly, he can occasionally manage entertaining novels whenever he soft-pedals the rhetoric.

    Perhaps his best novel to date remains The Probability Broach (1980), an action/adventure tale in which private eye William “Win” Bear discovered a gateway to another dimension where libertarian ideals had triumphed.  My fond memories suggest that the book managed an ideal balance between robust ideology and non-partisan entertainment: It was obviously a libertarian novel, but one that didn’t actively work to annoy whoever wasn’t in complete agreement with core libertarian principles.

    The American Zone may be a direct sequel to The Probability Broach, but the years in-between the two books haven’t improved or softened Smith’s tendencies to discuss libertarianism in the middle, the side, the top and the bottom of his fiction.  It features Win Bear a few years after the events of his previous adventure, now solidly established in his new community.  Not that everything is utopian in Bear’s new world: The opening of the dimensional gates has created a new type of immigration, and not everyone can cope well with the freedoms of the “Gallatin Universe”: The titular American Zone is a Colorado urban ghetto where refugees from Bear’s United States tend to congregate when they can’t cope with the rest of the world.

    Keep in mind that there are plenty of differences between Bear’s new and old worlds.  In the Gallatin Universe, the “North American Confederacy” is loosely presided over by an ape (uplifting being common, there are also a few dolphin characters), all levels of government are ineffectual by design and (this being an American libertarian utopia) there are guns, big guns, and beautiful guns everywhere for everyone.

    But whereas The Probability Broach was a fun romp for all, with concepts that you didn’t necessarily had to buy into in order to enjoy the rest of the tale, The American Zone is a lot more shrill and dismissive of alternate viewpoints.  If you think that putting guns in the hands of everyone may not be a perfect idea, then you’re fit to be laughed at and dismissed.  One of the lasting impressions left by The American Zone is how angry Smith seems to be at whoever disagrees with him.  Grudges about Geraldo Riviera, Ralph Nader, the Clintons, Nixon all lead to so-called amusing passages in which analogues of those characters are ridiculed –which seems particularly curious in the case of the Clintons, since they only came to prominence years after the narrator left their universe.  (Not to mention the improbability of finding such characters in a parallel reality in which, say, Denver doesn’t exist.)  Even Canadians are targeted twice in similes, first as the narrator eats breakfast and feels “as contented as a Canadian” [P.64] and then later as a villain acts “complacent as a Canadian”. [P.136]

    (This would be an ideal place in which to re-establish that as a French-Canadian working for the government, I consider Libertarianism to be a philosophy by aliens, for aliens.  Our world, simply put, doesn’t work like that, and no amount of folksy narration of a utopia whose rules have been stacked in favour of libertarianism can convince me otherwise.)

    If you do manage to put ideology aside to look at the actual narrative workings of The American Zone, well, there isn’t much to gnaw upon.  The best SF ideas are carried over from the previous book, although there’s a little bit of interest in the description of how parallel universes travel is disrupting the way the citizen of the Confederacy live.  A novel on this topic would have been interesting, but The American Zone is really more interested in letting a feisty grandma explain why she should have energy handguns in her personal arsenal.

    That’s not necessarily awful (despite my political objections to Smith’s novel, it’s not exactly difficult or unpleasant to read), but it leads nowhere, and that’s where The American Zone falters: Despite a gorgeous Martiniere cover, it feels hollow the moment you’re not already a libertarian.  It preaches to the choir, leaving the rest of the SF congregation looking bored.

  • The Talbot Odyssey, Nelson DeMille

    The Talbot Odyssey, Nelson DeMille

    Grand Central, 1984 (2006 mass-market re-issue), 543 pages, C$9.50 mmpb, ISBN 978-0-446-35858-3

    A generation after the end of the Cold War, the past already feels like an alternate universe: With the advantage of hindsight, we now understand how weak the Communist forces were, even at the height of the great transatlantic eyeball-staring contest.  It’s strange, after seeing the way Russia imploded after the end of the USSR, to read about all-powerful Soviet forces and the valiant attempts by US secret forces to keep them in their places.

    Nonetheless, that’s what we get with The Talbot Odyssey, a deeply paranoid throwback to the Cold War that survives even today in bookstores because it was an early novel by someone whose reputation continues to sell books.  At the exception of his brand-new The Gate House, this novel marks the end of my effort to read the entire main-line DeMille back-catalogue.  I’m not sure I would have bothered otherwise: Reading about the binary certitudes of the Cold War may be a comfort for those who think today’s world is shaded in too much gray, but it seems increasingly irrelevant.

    Still, the Cold War isn’t too much of a bad time to get back to.  After all, the stakes were high and simple: the survival of western civilization against an enemy seemingly determined to enslave America –and presumably provide free single-payer health-care whether Americans wanted it or not.  1984 was one of the last good years of the Cold War: Gorbachev would ascend in 1985, and after 1986’s Chernobyl, the myth of Soviet technological superiority would ring increasingly hollow.  It’s also noteworthy that the closest we ever came to nuclear war was not in 1962, but 1983: Read up on Stanislav Petrov and Able Archer 83 to learn more.

    So it’s no surprise if The Talbot Odyssey ends up being a muscular tale of espionage set in mid-eighties New York and Long Island, filled with brutal Soviet operatives, able American heroes, quite a few traitors, and a drawn-out ticking-bomb climax.  It involves the weight of decades of clandestine operations reaching out to the 1940s, tangled family loyalties, multiple identities, high-technology threats and a little bit of romance.  The backbone of the tale is about the unmasking of a deep mole in the US intelligence community and the hero is a policeman whose traits echo most of DeMille’s latter protagonists, but the only thing you really need to know is that it’s a superb late-period Cold War thriller, one that fully uses most of the plot mechanics of the genre and seldom hesitates to liquidate its own characters.  One of the book’s standout sequences is a drawn-out torture scene in which a fairly sympathetic character comes face-to-face with a double-agent: it’s a terrifying sequence, and it ends on a spectacular note.

    The cast of characters is large and not always clearly distinguishable and the book’s opening third meanders quite a bit in an effort to establish everyone’s complex lineage and relationships.  No surprise, then, if The Talbot Odyssey feels like a meaty saga rather than light entertainment: This is one book that’s perfect for long flight or other uninterrupted reading moments.  It’s a bit of a backhanded compliment to say that it’s a great book for its time, but there’s really no other way to explain that a novel like this couldn’t be written today: The overdone ruthlessness of the Soviets would be a tough sell now, and we know from our own history that the threat that weighs on every characters’ shoulders has not come to pass.  Quite a bit of the novel plays upon genre espionage conventions, and so we get almost every trick in the thriller source-book except for hidden twins –perfect for a mid-eighties marketplace in which nearly every single suspense novel dealt with Communist spies, but not so much today when a “historical” novel would have to stick closer to accepted facts.

    Nonetheless, it’s a heck of a read and another good entry in the DeMille oeuvre.  By now, it has acquired a comfortable patina of quasi-alternate reality, and can be enjoyed not as a possible story, but as a fine example of once-possible genre fiction.  It almost makes one nostalgic for that kind of fiction, when America-the-virtuous was a credible proposition, and there were implacable enemies up to Western Civilization’s standards.

  • The Devil Wears Prada, Lauren Weisberger

    The Devil Wears Prada, Lauren Weisberger

    Anchor, 2003 (2006 movie tie-in mass-market re-issue), 432 pages, C$10.99 mmpb, ISBN 0-307-27555-8

    By now, nearly everyone even remotely interested in this kind of story has seen the 2006 movie adaptation of The Devil Wears Prada, featuring an icy Meryl Streep as the implacable editor Miranda Priestly and Anne Hathaway as her much-abused assistant.  This may actually work to the novel’s benefit, given how newer readers will have no trouble imagining Streep’s iceberg-blonde terror enunciating each one of her zingers.  (Speaking as a guy, there are also worse things than picturing Anne Hathaway as the narrator of a 400+ page book.)

    But The Devil Wears Prada was a book well before it was a film, and going back to the source provides, as usual, a deeper and more immersive experience.

    The bare bones of the story remain the same: In New York, a studious young woman looking for a writer’s job is almost accidentally hired as a personal assistant for the editor-in-chief of the top fashion magazine on the planet.  She knows the job will be hell, but reasons that she’ll be able to name her reward after a year on the job.  But little does she suspect that the job will change her more quickly than she expects…

    Basically a boss-from-hell story, The Devil Wears Prada clearly suggests real-life kinship with Vogue magazine, and much effort has been spent elsewhere explaining the similarities between Priestley and Vogue’s editor-in-chief Anne Wintour.  That kind of what-real-what-isn’t inner-baseball, however, will be better left to true enthusiasts of the New York fashion scene: For the rest of us, it’s a look at an alien culture that can spend as much time worrying about fashion accessories as others worry about their mortgage.  Meanwhile, our narrator is stuck answering to every whim of her boss, no matter how insufficiently detailed they may be.

    There’s some irony in that even though The Devil Wears Prada can be classified under the fluffy chick-lit banner (featuring a romantic plot involving a young woman deluged under the more superficial aspects of contemporary life), it quickly finds itself a spot alongside The Nanny Diaries as an indictment of the New York upper set.  Although focused on fashion, the story does feature a modest amount of class-warfare goodness in showing how the rich are not necessarily any saner than the rest of us.

    Fans of adaptations mechanics will find much to like in comparing both versions of the story: The novel, of course, has the advantage of detail as our narrator explains the inner working of a modern fashion magazine, and the political wars in-between the covers.  On the other hand, the movie cleverly balances the impact of both lead characters and provides both depth and sympathy to the boss-from-hell: Two of the film’s best scenes show the consequences of Priestley’s behaviour and how she recognizes herself in the young protagonist of the story.  Those may be obvious screenwriting-101 fixes, but those details add a lot to the overall dynamics between the characters and tone done the petulance of the book’s narration.  The film is perhaps a bit better at showing how close to the dark side our protagonists finds herself after a few months on the job, which makes things a bit more interesting than the boiling-kettle drama in reading the book and wondering when Miss-perfect narrator will finally crack under the pressure.  (When she does, however, it’s a thing of beauty.)

    Given the singular nature of the New York publishing scene and the even stranger character of the fashion scene, it’s a relief to find out that the prose style of the novel is accessible and even compelling.  The episodic nature of our narrator’s plight is a series of one absurd incident after another, and it’s not such a big issue if the plot emerges only late in the story.  Some of the dramatic arc is contrived and depends on a narrator who’s essentially oblivious to what’s going on around her, but it’s fair to point out that the novel is less about the plot than an accumulation of wacky incidents in the world of fashion.

    For an escapist novel aimed at wannabe fashionistas, it’s a minor amazement that The Devil Wears Prada keeps having an impact even six years after its release.  Not only did the film do good business (and led Streep to yet another Oscar nomination), but it’s an open question whether the upcoming documentary The September Issue, which features Vogue and Anne Wintor front-and-center, would have existed in its current form without the increased attention given to Wintour after The Devil Wears Prada.  Not bad for “just a chick-lit novel”…

  • Public Enemies (2009)

    Public Enemies (2009)

    (In theatres, July 2009): Depression-era Chicago, gangster Dillinger, early days of the FBI, Marion Cotillard as a moll, Michael Mann directing: What can possibly go wrong? Plenty of things, actually, starting with Mann’s increasingly ugly fixation for digital filmmaking: Public Enemies often looks cheap and out of control: a night-time shootout looks as if it’s been filmed on video by amateurs, the handheld camera is constantly used without reason, while several other scenes are insufficiently lit. Meanwhile, though, there isn’t much going on in the tangential and confused script: scenes come and go, but there’s little attachment to the characters, what they’re doing or where they’re going. Among other things, the story touches lightly upon Dillinger’s extraordinary popularity at the time, and messes up the chronology for several members of the Dillinger gang. Johnny Depp and Christian Bale star, but neither of them show the skills they’re best known for. The result is an overlong mess, and an uninvolving one… especially given the elements the film could draw upon. This is the third substantially-digital film by Mann, and after Collateral and Miami Vice, it’s clear that he’s getting less and less successful with each of them. What’s going on?

  • Defusing Armageddon: Inside NEST, American’s Secret Nuclear Bomb Squad, Jeffrey T. Richelson

    Defusing Armageddon: Inside NEST, American’s Secret Nuclear Bomb Squad, Jeffrey T. Richelson

    Norton, 2009, 318 pages, C$31.00 hc, ISBN 978-0-393-06515-2

    Considering the anti-terrorist rhetoric of the past decade, it’s easy to be paranoid about America’s ability to counter nuclear terrorism.  After all, the Bush administration managed to convince peace-loving Americans to invade a nation without a viable WMD program in part because, in the oft-quoted words of then-NSA Condoleeza Rice “we don’t want the smoking gun to be a mushroom cloud.”  In the years since 9/11, “dirty bombs” and “suitcase nukes” have entered the vernacular, along with a low-grade paranoia that any high-school student with a working knowledge of E=MC2 could be a sleeper agent.

    Fortunately, there are watchdogs out there.  We don’t often hear about them because reassurances rarely sell newspapers, but elements of the US government do exist to react whenever there’s a nuclear threat against the nation.  In Defusing Armageddon, Jeffrey T. Richardson tackles the history and achievements of the Nuclear Emergency Support Team (NEST), an organization of experts whose mandate it is to answer whenever someone rings the nuclear alarm.

    The first surprise of the book is the context that made the creation of NEST so necessary.  After a preface that acknowledges an impressive bibliography of fictional work mentioning nuclear crisis scenario (from Thunderball to The Peacemaker, with mentions of Tom Clancy’s The Sum of All Fears, Broken Arrow and Michael Connelly’s The Overlook), Defusing Armageddon tackles the real post-WW2 history of nuclear incidents in North America, and the result can be just as hair-raising as the fiction: The history of the organization so far includes missions of nuclear extortion threat evaluation, as well as radioactive material detection and containment.  If the White House receives a letter saying “answer our demands or say bye-bye Boston”, NEST’s number is at the top of the list of people to contact.

    This happens more often than you’d think.  The book’s appendix provides a list of 103 nuclear extortion threats between 1970 and 1993, and the first few chapters detail quite a number of them.  From high-school students to disgruntled employees, NEST has helped identify and apprehend quite a few would-be nuclear terrorists.  Richelson’s descriptions of attempted extortion plots are alternately depressing and hilarious, their lack of consequences being no match by the thought that there would be so many attempts at it…  For those with an interest in techno-thrillers, this chunk of the book is a real highlight.

    The next big moment of Defusing Armageddon comes in Chapter 3, which studies NEST’s response when a nuclear-powered Soviet satellite, Cosmos 954, re-entered the atmosphere and disintegrated over northern Canada in 1978.  The following search effort (“Operation Morning Light”) made sure that no significant nuclear debris presented any lingering threat, and the mechanics of the operation are fascinating in their own right.

    After those first few chapters, Defusing Armageddon becomes less gripping as it studies the fallout of the fall of the Soviet empire (and unsecured depots of nuclear material), the new challenges of a post-9/11 security environment and the organisational changes that replaced NEST’s initial “Search” acronym to “Support”.  The narrative of fascinating details in the first third of the book gives way to a more conventional organizational biography, although occasional discussions of technological capabilities will reward those looking for background information.  Readers of Andrew and Leslie Cockburn’s similarly-themed One Point Safe will find both confirmation and explanations about such events as the botched “Mirage Gold” training incident and the remarkably successful “Sapphire” nuclear evacuation operation.

    Unlike the Cockbuns, however, Richelson is a scholar more than a storyteller, and the less glamorous sections of Defusing Armageddon illustrate that while the book is impeccably well-researched (over 50 of the book’s 300 pages are notes and sources), it’s not always as interesting to read as it should be: The writing style is dense, and Richelson’s access to many of NEST’s current and former employees hasn’t always translated in an accessible narrative on the page.

    Nonetheless, Defusing Armageddon is a fascinating book.  Generally non-partisan and non-paranoid despite its catchy title, it’s a lucid explanation of real anti-terrorism efforts with a significant pedigree of effectiveness.  It’s engrossing reading for national security buffs, and it’s even sure appeal to those who think it’s been a long time since Tom Clancy’s last novel.

  • Mamma Mia! (2008)

    Mamma Mia! (2008)

    (On DVD, sometime mid-2009) I’m not that familiar with the original stage jukebox musical, but even I know that it’s a frothy romantic comedy built around a number of ABBA songs. As such, the film adaptation Mamma Mia! does service to the concept: It’s lighthearted, romantic, and features a series of numbers based on ABBA songs. As three older men converge on a Greek island where an ex-flame and her daughter live, it’s the film’s smallest mystery to find out who is the girl’s father. Much of the time is spend singing and dancing, helped along by the inescapable (and somewhat delightful) fact that ABBA’s music has inserted itself deeply into modern pop culture. The result may be kitsch, but it’s familiar and comfortable kitsch without a mean bone and with an inordinate desire to please. It is, in other words, almost impossible to dislike. The actors involved aren’t all good singers, but it’s part of the film’s charm to see Pierce Brosnan croon, even hoarsely, to Meryl Streep. Amanda Seyfried is cute as a Muppet as the daughter with a mystery father, and the fantastic Greek scenery adds a lot to the film’s sunny atmosphere. Mamma Mia! isn’t high art, but sometimes campy pop is more than good enough.

  • The Taking of Pelham 123 (2009)

    The Taking of Pelham 123 (2009)

    (In theaters, June 2009): Those looking for a New York crime thriller should be pleased by this latest remake: while the film is good enough, it stops short of being anything more. Director Tony Scott keeps his usual hyper-kinetic tendencies under control, only unleashing them during the credit sequence and a few high-speed interludes. The rest of the film is polished and played generally well by John Travolta and an unglamorous Denzel Washington. Most of the hostage drama is dedicated to a sometimes-contrived actor’s duel, at the expense of the hostages’ characterization. It’s engrossing enough until the third act, when our protagonist keeps volunteering back into a situation that is clearly not his to solve; it all leads to a ridiculously blood-thirty conclusion that hasn’t earned its over-the-top drama and actually diminishes the everyman quality of our tainted hero. As for the rest, well, the remake is generally successful at erasing the seventies origins of the previous film: There are financial shenanigans, high-tech gadgets and plenty of references to contemporary New York. With a stronger and more appropriate conclusion, The Taking of Pelham 123 could have made onto the list of genuinely good thrillers. As it is now, it’s a good-enough choice whenever everything else has been seen.

  • The Proud Highway: Saga of a Desperate Southern Gentleman, 1955-1967, Hunter S. Thompson

    The Proud Highway: Saga of a Desperate Southern Gentleman, 1955-1967, Hunter S. Thompson

    Ballantine Books, 1997 (1998 paperback re-issue), 683 pages, C$24.95 pb, ISBN 978-0-345-37796-8

    My lofty intentions to read Hunter S. Thompson’s entire output in strictly chronological order of publication don’t make much sense considering The Proud Highway, a 1997 collection of letters written between 1955 and 1967. In a bid to solidify Thompson’s position as an American writer of some renown (and to please legions of fans accumulated since 1972’s Fear and Loathing in Las Vegas), Thompson authorized noted academic Douglas Brinkley to dig in his archives and assemble volumes of correspondence.

    Thompson famously kept copies of nearly everything he wrote, even from a young age, and it’s those copies that fuel this collection of letters published before his first book (Hell’s Angels) hits the market. Those are the letters of a young man, a cocksure writer just waiting for greatness. Some juvenalia aside, the first letters collected here date from Thompson’s years in the Air Force, where he channels his renegade energies into sports writing, and then in engineering his own departure from the US military forces.

    The rest of the book follows Thompson as he travels across America, and then from one continent to another. Thompson fans will track his travels from New York to San Juan to Big Sur to South America to San Francisco, only to end up, pages before the end of the book, in his home base of Woody Creek, Colorado.

    This is as close as we’ll ever get to a Thompson autobiography, as we track his progress through quasi-weekly letters written from always-desperate circumstance. A vivid letter describes as Thompson manages to write in the cargo hold of a military flight heading back to his usual post; another hilariously portrays Thompson as battling insects while writing to his friend. One thing’s for sure: Thompson’s character was forged well before he hit his stride with Hell’s Angels: even his early letters show an aggressive and self-assured spirit: in fact, some of his letters to female acquaintances are uncomfortably pointed –especially for those who don’t know the context.

    Still, life wasn’t easy for the young Thompson. Nearly every single letter mentions monetary difficulties of some sort, to the point where it becomes tiresome. Small wonder if Thompson-the-older-man would remain fixated on monetary issues, often to the detriment of his relationships.

    Readers with specific interests may learn a few good details of trivia through those nearly seven hundred pages of letters. As a science-fiction fan, for instance, I was amused to find out that Thompson had sent a few stories to SF magazines at the beginning of the sixties –what an alternate universe that would have been if he had found success in that field! Similarly, the first editor to buy something from Thompson was Frank M. Robinson, an editor who would move west to San Francisco, become Harvey Milk’s speechwriter and eventually develop in a fine SF writer in his own right. Small world…

    It almost goes without saying the The Proud Highway is aimed squarely at Thompson fans and scholars: Brinkley’s contextual input is slight, and the book’s best moments often illuminate other aspects of Thompson’s work. (The whole bizarre “American ambassador to Samoa” allusions in Fear and Loathing: On the Campaign Trail ’72 finds an explanation in a series of letters actually sent to Democratic Party honcho Larry O’Brien, for instance.) A lot of the material is either repetitive or desperately trivial, and casual readers may not want to wade through it all.

    But for the Thompson fans, The Proud Highway is a look at the early years of a noteworthy writer. The 1967 date at which the book ends is significant, since it finds Thompson safely housed in Woody Creek Colorado, waiting for Hell’s Angels to hit bestseller lists and the subsequent events that would catapult him to national fame. But that story is covered in a second book of letters, aptly named Fear and Loathing in America

  • Batman (1989)

    Batman (1989)

    (Second viewing, on DVD, June 2009): With the critical and commercial success of Christopher Nolan’s Batman Begins and The Dark Knight, it’s becoming easier to forget about Tim Burton’s reinvention of the character, before it slid once again in franchise-killing high camp during the Joel Schumacher years. And that’s a shame, because despite some increasingly dated aspects, Batman still keeps an operatic grandeur that resonates even today. The story is thin and eighties-fashion still peeks through the self-conscious blend of historical references, but the entire film remains intriguing. Health Ledger may have taken over the Joker’s look, but Jack Nicholson’s take on the character remains magnetic. Only an underwhelming finale falters visibly: While everyone remembers the Batman/Joker showdown in the streets of Gotham, fewer will recall the following sequence taking place in a cathedral. Two decades after the film’s release, the special edition DVD can afford to be candid about the film’s rushed production, last-minute producer-driven script changes and casting choices. Alas, director Burton’s commentary track could have benefited from judicious editing: His “you know?”s start grating early on and never fade away.

    (Third viewing, On Cable TV, June 2016) I hadn’t watched Batman in more than ten years, but another look was more than warranted given rapid evolution of superhero movies since then. Tim Burton’s Batman turns out to be a significant step in the evolution of Batman’s movie portrayal from sixties silliness to Nolan’s grimmer portrayal. It’s certainly trying to be more serious, but it can’t completely manage it. It doesn’t help that Burton’s vision for his characters (and particularly the joker) is so colourful and exuberant: it’s tough to keep a straight face at what Jack Nicholson pulls off in his completely unrestrained performance. Otherwise, it’s fascinating to see in here the seeds of the modern superhero blockbuster, albeit with pre-digital effects, restrained cinematography and somewhat more silliness. (Not included in the movie, but far more important, are the media tie-in and marketing effort surrounding the film, which I remember more than the movie itself) Michael Keaton is better than anyone may remember as Bruce Wayne/Batman, while Kim Basinger is spectacular as Vicki Vale. The ending is a bit dull (the Joker shooting down the batwing is memorable, but the subsequent cathedral sequence isn’t), but there are enough good scenes along the way to make it worthwhile. It’s probably impossible to overstate Batman’s impact on the modern blockbuster industry, but there’s actually a worthwhile film underneath the hype.

  • Transformers: Revenge of the Fallen (2009)

    Transformers: Revenge of the Fallen (2009)

    (In theaters, June 2009): The most remarkable thing about this film isn’t nearly as much the near-constant special effects, brute sonic force or always-moving camera: It’s the feeling that a tremendous amount of talent and energy has gone into making one of the loudest, fastest and dullest films of the year. In that, it’s not particularly different from the first film of the series: Michael Bay’s artistic choices (huh?) in portraying robots as an indistinct blur of loosely-coupled pieces still offends my own aesthetic preferences, while the attempts at injecting comedy in an SF/thriller framework feel almost as embarrassing as in the first film. The self-contradictory science-fiction elements (firmly stepped in mysticism) make absolutely no sense, while the steady accumulation of robot-on-robot fights quickly get tiresome, especially when they don’t allow any clean visuals. The film works slightly better when it becomes a military thriller: it’s a surprise to find that there hasn’t been a better recent glossy portrayal of the US military than in this pair of robot sci-fi fest. Still, it’s hard to be entirely displeased by a film that obviously cost so much: All the money is visible on-screen (although sound design often favors robot rumbling over intelligible dialogue), and it’s an education to see some of the insane shots that are now possible via special effects. Alas, it’s the accumulation of those shots that weaken them: There’s no other pacing that full-steam-ahead, which is good since the film becomes lousy whenever the characters speak to each other. But guess what? Once my ears have cleaned up and once I got used to a non-shaky vision again, I have to admit that Transformers: Revenge of the Fallen isn’t quite as embarrassing as the first Transformers. (Well, at the exception of the racist “comedy” robot duo.) Small praise, but there you go. As of this writing, five days after release, the film is already the third-biggest grossing film of the year, and is set to overtake the top spot in the remaining days of its first week in theaters. Do you even think the bad reviews even slowed it down?

    (On DVD, January 2010): Something strange happens when watching Transformers 2: Revenge of the Fallen at home while doing something else: It almost becomes enjoyable. Part of the answer is that you can pay attention to something else (say, a good book), while listening to the audio commentary and only looking at the screen for the good parts. The other part of the answer is that by being able to opt out of the movie frame, the pummeling effect of Bay’s increasingly nonsensical direction becomes less pronounced. Oh, it’s still not much of a film, but home viewing will allow you to focus on the good parts… and there are a few of those. Whenever Bay’s ADD lets up and he gets to avoid cutting for more than five seconds, the polish of his sequences is admirable. The sound design is incredible. The presentation of military hardware is terrific. Watching the tons of extras in the two-disc special edition (including a documentary that’s almost as long as the film itself) can even give you a renewed appreciation of the logistical challenges of big-budget moviemaking. The looks at editing and the special effects crunch are perhaps too revealing, while discussions of the film’s script-writing process are a reminder that even films with lousy plots have a lot more sophistication than we can take for granted. A lot of time is dedicated to Bay himself, which is appropriate given how charming the man can be –except when turning curiously defensive in discussing how reviews don’t really matter. Hmmm…