The Adventures of Johann Sebastian Bach

Check out the short story series: The Adventures of Johann Sebastian Bach.


http://adventuresofjsbach.blogspot.com/


It is the story of an average guy that is called to a higher purpose, to help those in need. Mixing comedy and adventure, Bach battles against both himself, as he comes to grip with who he is and what he has been chosen to do, and those that would do him and those he must protect harm.


The plan is for the series to have new episodes monthly.


Enjoy!

Pirate Radio (2009) – Review

Pirate Radio, or as it is known in the UK The Boat that Rocked, is a film more about the music and time period it is set in than the characters that populate it. This is both the strength and the weakness of the film. As a film about 1966 Britain, it excels in its montage of images across class representing the changing tide, with the music serving as the soundtrack to the transition. Kenneth Branagh’s character seems to be a caricature of what one could call the “old guard”, ridged, shown only in neat, yet dreary settings, awfully awkward, almost unable to adapt. It is a contrast that works well in endearing the culture and characters on the boat, yet the juxtaposition sometimes gets in the way of the story, trying so hard to show the opposing forces depicted against one another, the flow feels interrupted at times. However, the story is not the point, nor the characters; it is the budding attitude, with the music being at the forefront as its expression. The film then works better as a social commentary. Not to say there are not enjoyable characters and character moments, because there are, but the film is not about the growth of any character, minus the sub-plot of a young man coming of age, but that too takes a backseat to the era. The film, like its ending, while threatening to the characters directly, is more about the coming together of people and the prevailing of the music and the culture supporting it, the birth of the revolution. Richard Curtis has taken an ambitious approach to the subject, structuring it so that the era in which the film takes place is the main focus, rather than a character navigating in the era and some may not connect for this reason. But for those able to just experience the film, it is embedded throughout with perfectly placed music (which is essential, no?) and overall is a good time at the theatre. Technically, the achievement of the film goes to the fine work of production designer Mark Tildesley, who created fantastic sets and the contrast between the government types and the boat DJs, as well as the many telling shots of the listeners which were needed to really understand and get a sense for the era. The ensemble cast also was good, highlighted by the always wonderful Bill Nighy (Curtis again using him in a similar vein to Love Actually), Philip Seymour Hoffman and Rhys Ifans. Nick Frost and Rhys Darby add comic relief, as do newcomers to American audiences Chris O’Dowd and Tom Brooke. Pirate Radio is a film more about the era and the music, but both of those are entertaining, and so is the film. 7/10

Glee: Season 1, Episode 9 – Wheels (2009) - Review

Wheels is about being different. It is about those on the fringes of popular society, at least what television generally regards as popular society. The story centers on inclusion and not treating people differently, almost feeling like some of the episodes of Sesame Street. The pit falls of an episode trying to do these sorts of things though is that it can very easily be bogged down in clichés pulling at the viewers heartstrings and often coming off as cheesy or preachy and either way not engaging, or more importantly, not doing service to the message it is trying to get out. Here, Ryan Murphy and staff walk a thin line, there is cheese and clichés intended to pull at the viewer’s heartstrings, and yet the skill of the episode is that it does not play that way. The viewer does not feel manipulated artificially into feeling certain targeted emotions. The emotion is real. The story rings true. And for the second week in a row, Glee has shown that it is a wonderful medium for both entertainment and social growth. In Wheels, the music and singing performances again take a backseat to the drama, which is why the show now is far better than its early episodes. The music is fun and enjoyable, but the characters and the drama is what the viewers care about, what makes them invest in the show, otherwise why not just watch the musical numbers and fast-forward through the rest? Glee, with a few of its numbers, has started to dip into the world of musicals, the distinction being that musicals have characters breaking into song while in everyday situations to tell a story, not just performing a number in Glee practice or on a stage for an audience. The musical numbers do work much better in telling the story visually and Glee should continue to integrate more of them into the flow of the drama. The cast continues to be good, none are standouts, but they all work well together as an ensemble. Glee is more about the story telling, right now, and that is a good thing. The show is blossoming into one of the finer more relevant and important shows on TV and Wheels is another standout episode. 9/10

Glee can be seen Wednesday nights on Fox or on Amazon.com.

Movie of the Week - A Bridge Too Far

This week’s movie is A Bridge Too Far.

Richard Attenborough’s epic WWII war film is about Operation Market Garden, the most colossal airborne operation ever carried out (even larger than D-Day). The operation involved dropping airborne units strategically throughout German occupied Holland with the mission of securing bridges, while at the same time a brigade of tanks and troops would come through Holland to meet up with the airborne units. Basically, it was a grand operation by the Allies to invade German by commanding key bridges over the Rhine. What makes the film great is the grand set pieces, considerable acting talent (a who’s who of the time, 1977) and a wonderful score by John Addison; plus, the screenplay is by famed screenwriter William Goldman. For war movie fans, this is a must see. The film stars: Dirk Bogarde, James Caan, Michael Caine, Sean Connery, Edward Fox, Elliot Gould, Gene Hackman, Anthony Hopkins, Ryan O’Neal, Laurence Olivier, Robert Redford, Maximilian Schell, Hardy Kruger, Liv Ullmann, and Denholm Elliot.

A Bridge Too Far [Blu-ray/DVD]

The Box (2009) – Review

The Box is a study of humanity played through a simple premise: a box arrives with a button, push the button and two things will happen, first one million dollars shall be delivered in cash, second someone not known to you shall die. It is a test of human nature. Can we put humanity before ourselves, take that to mean material needs, personal issues, really what is most applicable to each of us (as it tends to differ on some level)? The film takes this query, sprinkles in a little Invasion of the Body Snatchers, and applies it as a thriller, on the surface at least. As a thriller, the film feels a bit slow moving, though tension is effectively used, if only key performances had been a bit better, but nonetheless the film is able to create a certain apprehension in the viewer – in that, the audience not only watches but, if engaged (not all will be due to the slow pacing, but those interested will), actively participates in solving the mystery surrounding the circumstances of the box, dread, doubt, mistrust arising within (the viewer) directed at both characters and self. Thus, the anxiety is in whether finding answers will set us free or in searching do we become lost. Here is where the film is most interesting. The analysis of human nature – there are a number of specific points made thematically and visually in the film directed at different aspects of both human psychology and societal function. How do we justify what we do, be it what we are willing to do – why and to what degree. The film seemly takes on a Sci-Fi feel to it as the characters search for answers – yet, the film deviates from its apparent science fictional mythos (or does it?) and seems to drift into theistic lore. The themes of the film and inferences lie in direct contradiction to the habitual indulgences that rule human existence (or at least seem to, there are a number of examples – but the huge wind-tunnel may be the best). Those opting to participate in the discourse of the film should find it interesting. If not, the film plays as a thriller, much like its setting, from a earlier period in (film) history, too slow for the action packed thrill a minute film-goers today. Richard Kelly has a mastery of visual style and aesthetic. He is also quite good at injecting mythos into his narrative. However, at times, he gets hung up on the mystery which can leave his narrative wanting. With The Box, he uses his camera and other aesthetic tools to craft a beautifully visual and tonally perfect film, but he has not completely succeeded in its structural narrative pacing and has not garnered the necessary performances needed to make this film great. The cinematography of Steven Poster is wonderfully suited to the material, pitch and period of the piece. The same can be said for the production design of Alec Hammond. A high spot of the film is the score, composed by Acarde Fire members Win Butler and Regine Chassagne and collaborator (both here and with Arcade Fire) Owen Pallett; it accents the mystery and suspense of the film well. The performances from the three leads are a bit uneven. Frank Langella is great (what else would anyone suspect though), benevolent and creep simultaneously is hard to pull off. The issue lies with James Marsden and Cameron Diaz. Marsden is good at times, but pitted against Langella, he is vastly overshadowed. Diaz, on the other hand, while seemly able to hold her own with Langella, though more so in screen presence than ability, mostly just feels out of place. The Box, an interesting look at the state of humanity, works more in its analysis than as a gripping thriller. 7/10

Coco Before Chanel (2009) – Review

Coco Before Chanel is a story of a woman finding her place in the world – orphan to icon. The film focuses on the life of Coco from her life singing in a bar by night, seamstress by day, to her strange relationship with what could be called her benefactor to her brief first love affair, all steps leading to her discovery of self, that she had it within to be strong and different and succeed. It is the story of an independent woman that took charge, when in France at the time, it was not common. However, the main flaw that hampers the film greatly is a poor script. One cannot help but feel that what happens next in Coco’s life, as the credits roll, would be a far more interesting story than the one just seen. While there are certainly elements necessary to telling the story of her growth are present, the film, as is, would work much better as chapter one in a miniseries than a standalone film. The film’s most engaging moments involve the discovery of fashion by Coco (her style evolving), best exemplified in the scene of her dancing in the casino in her stunning black dress surrounded by a sea of white lace and soon to be outdated extravagance. Despite the hardships she faced within the story, she does not overcome meaningful obstacles, and thus there is never a strong connection formed with the audience. The film works better as a lecture of the early years than as a dialog between film and audience allowing for the audience to be engaged and take stock in the characters and outcomes. What seems to be the gravest obstacle in Coco’s life concludes the film, glazed over with little emphasis, the audience does not see the triumph rather it is inferred with what Coco goes on to become. But the audience needs to see the triumph, separating history channel special and potent cinematic drama. Director Anne Fontaine shot the film to be quite dreary, maybe as a reflection of the inner turmoil within Coco, there is no much color at times, and the lighting (or lack thereof) leaves the film feeling dark. Her camera is clunky and awkward at times too. And yet, at other times, again looking at the casino scene, she masterfully engages with her camera. She also has a talent for capturing the subtleties of a performance, which was particularly important in this film as the three main actors gave very real, restrained performances living in subtext – most of the honest dialog was unspoken. Audrey Tautou continues with every performance to be the center of the screen; she draws attention with her eyes and smile. Here, she keeps a lot inside, and yet the audience can feel for her. In a script with not too much to do, she still stands out and delivers a fine performance. Benoit Poelvoorde and Alessandro Nivola are also both good in their respective roles. With Tautou’s performance, the film is also highlighted by a moving score from Alexandre Desplat. His piece over the final scene is very beautiful and one of the best of the year. Coco Before Chanel works well in its telling of the cultivation and eventual proliferation of an icon, though it works more as a biography than compelling cinema. 6/10

Sugarshock (2009) – Review

Sugarshock is very funny, completely random and just plain fun. The characters exist perfectly in their world and within the story (especially Dandelion). It is best to approach this story with no information, fresh to experience it. Joss Whedon forges on with another wonderfully written script ripe with humor, drama and witty absurdity that makes his stuff a joy to read (and watch). Fabio Moon’s art captures the spirit of the characters and story well, while also infusing style into the piece. With such great characters, hopefully Whedon and Moon will again venture into the world of Sugarshock. 8/10
The one-shot comic first appeared as part of the online anthology MySpace Dark Horse Presents. 

Movie of the Week - The 39 Steps

This week’s movie is The 39 Steps.

Alfred Hitchcock’s first masterpiece, The 39 Steps is a thriller adapted by famous British mystery screen and playwright Charles Bennett. The film is considered the fourth best British film of all time by the British Film Institute. What makes it so great is that Hitchcock is able to make a compelling thriller, but also a romantic comedy, if not a screwball comedy, in the same film. It is also an early sound era film, yet Hitchcock uses sound masterfully in the picture (there is a great sound bridge in the film involving a train), while still having a fluid camera, not common among early-sound pictures. Hitchcock, as he had done with a few of his early British films, remade The 39 Steps as North by Northwest. The film stars Robert Donat and Madeleine Carroll.

The 39 Steps (Criterion Collection) [DVD]

Bill Murray – Movies Spotlight – November 2009

Bill Murray, 62, is known for his wacky humor, dry wit, and deadpan delivery – and as one of the comic geniuses to emerge out of the early days of SNL. He continues to be not only one of the funniest but also one of the best actors working today. This month he is featured in the supporting voice role of Badger in the upcoming new film from Wes Anderson, Fantastic Mr. Fox.

Early Career:

Bill Murray got his start on SNL in 1977 as one of the troupe’s stars. In 1979, he made the jump to his feature lead debut in Meatballs and quickly parlayed that into breakthrough supporting roles in Caddyshack and Tootsie, both of which are generally considered to be movie stealing outings by Murray.

In Caddyshack, Murray’s antics are pitted against many of the top comedians of the late 70s and early 80s including Rodney Dangerfield and Chevy Chase, and yet it was Murray that made the biggest impression and garnered adoring fans. It is also with Caddyshack that Murray first worked with future multi-collaborator Harold Ramis, who was directing.

Tootsie was nominated for multiple Oscars in 1983, though Murray’s supporting role was not recognized with a nomination, but in retrospect, his performance is considered the highlight of the film.

Collaborations with Ivan Reitman:

However, it was Murray’s collaborations with Ivan Reitman that made him a star. First, getting his feature break in Reitman’s Meatballs, and then in Stripes. It was the director and actor’s third film together that propelled Murray to international fame – Ghostbusters. Reteaming with SNL buddy Dan Aykroyd and Harold Ramis, Ghostbusters perfectly brought together comedy, special effects and adventure the make it one of the biggest blockbusters of the 80s, spawning the next collaborations between Reitman and Murray, Ghostbusters II and the upcoming Ghostbusters III (assuming it ever actually happens).

Personal Projects:

With the success of Stripes, Tootsie and Caddyshack, Murray had his choice of any project. It was in his best interest to continue make bigger releases like Ghostbusters. So he made a few forgettable comedies like Scrooged and Ghostbusters II, and took a supporting role in Little Shop of Horrors to round out the 80s.

However, he then turned his attention to a more personal project in The Razor’s Edge, a film that he got Columbia Pictures to finance for doing Ghostbusters, an idea he got from Aykroyd, not being able to find a studio to make the film. Here, Murray took a role to grow as an actor, which features his unique quirkiness but also the film has a lot of sadness to it. The film is about a man who serves as a stretcher-barrier during WWI. He is not quite able to recover from the tragedies that he experiences in the war, and so upon his return stateside, he is unable to be with the women he loves and moves to France. The film deals with his journey to find enlightenment and love. The film was not well received at the time, as most people wanted Murray to be funny as opposed to a serious actor, but the film is quite good and deserves another look.

Murray next tried his hand at directing, as he (actor/producer) and Howard Franklin (writer) could not agree on a new director with Jonathan Demme dropping out, with Quick Change, a bank heist comedy co-starring Randy Quaid and Geena Davis; this would be the only time that Murray would be in the director’s chair, again the film was not well received.

1990s, Some Good, Most bad:

The early to mid-90s saw Murray make a hit, and couple cult favorites, and a few not so good movies. 

Murray decided to collaborate again with Harold Ramis, a partnership that had blossomed both critical and commercial successes for the pair. Groundhog Day is the highlight of this part of Murray’s career. It perfectly mixes his brand of comedy with philosophical questions about humanity. However, Murray and Ramis often argued about the tone of the film (Murray wanted it to be more philosophical, while Ramis wanted it to be a comedy) and they had a falling out and have yet to work together again.

Murray then took supporting parts in Tim Burton's Ed Wood and The Farrelly Brothers' Kingpin, in both of which he delivers scene-stealing performances. The rest of this time was spent toiling around in subpar films, highlighted by the absurd Wild Things and the awful Larger Than Life.

Rebirth, Collaborations with Wes Anderson and Jim Jarmusch/Lost in Translation:

Starting in 1998 with Rushmore, Murray reinvented himself as hip once again, whether it was by his project choices, or the new directors that he started working with, he became popular again for a new generation (and a new audience). He transformed himself as the go-to comedian for the independent scene.

Wes Anderson, coming off the indie success of Bottle Rocket, cast Murray as the co-lead in his film Rushmore, which sees Murray battle Jason Schwartzman for the affections of a school teacher. Murray’s performance is wonderful, mixing dry humor, sadness, and hope. There is a sense that their budding friendship saves each of the characters’ lives.

Anderson would continue to work with Murray in some capacity on all his future projects, seeing Murray in supporting roles in The Royale Tenenbaums and upcoming Fantastic Mr. Fox, a cameo in The Darjeeling Limited, and starring in The Life Aquatic with Steve Zissou, another film in which Murray is able to show his great capacity for emotion with almost effortless style, blending dryness and sadness. Murray also kills in a supporting role in Anderson’s latest film Moonrise Kingdom.

With Jim Jarmusch, Murray delves deeper into the indie scene starring first in a film involving a series of conversations in cafes, Coffee and Cigarettes, and then in Broken Flowers, about a man in search of his son, who is in turn looking for him. Murray is also featured in a supporting role in Jarmusch’s latest, The Limits of Control.

Sticking with the indie scene, Murray also made Tim Robbins's fantastic ensemble musical about the turmoil of the 1930s New York, Cradle Will Rock, playing an aging relic (aka a vaudevillian ventriloquist). He then took a chance in a supporting role in Ethan Hawke's reimaging of Hamlet, following it with Andy Garcia's passion project about Havana The Lost City.

In Sofia Coppola's wonderful Lost in Translation, a role that would earn him his first and only Oscar nomination (which he sadly did not win), Murray is brilliant, turning in possibly the best work of his career.

With the critical success of Rushmore and Lost in Translation, along with his masterfully perfect performances in each, Murray has reestablished himself as not only a top comedian, but more importantly as a top actor. However, a purely independent career does not pay the bills (at least not the bills of a movie star), nor does it get an actor the exposure to a broad audience.

Other Films:

So, Murray also took many Hollywood roles during his time reimagining himself. Most supporting parts, Murray notably co-starred in Charlie’s Angels, Osmosis Jones and the lead voice role in the two Garfield films.

Lately, Murray has taken roles in Gil Kenan's follow-up to Monster House, the underrated City of Ember, the indie crime drama Get Low, and he plays FDR in Hyde Park on Hudson.

Cameos:

For those who remember Space Jam from the 90s, know that Murray can be excellent in cameo appearances, and that still continues today. Murray has featured in a few films through memorable cameos in recent years. Some of which work, his cameo in The Darjeeling Limited as a man trying to catch his train at the beginning of the film is likely the best opening to a Wes Anderson film to date. Some of which do not, his cameo in Get Smart, like the movie, is not very good or funny. And some of which steal the movie, his cameo in Zombieland is the highlight of the film as he reenacts a scene from Ghostbusters and pretends to be a zombie.

Future Projects:

Upcoming, Murray is set to feature in both George Clooney’s new film The Monuments Men and Wes Anderson’s seventh feature The Grand Budapest Hotel – both due in late 2013

The Monuments Men is about a crew of art historians who set out on a mission to rescue and recover renowned works of art stolen by the Nazis, before Hitler destroys them. In addition to Clooney and Murray, the film also features Matt Damon, Cate Blanchett, Hugh Bonneville, Jean Dujardin, and John Goodman.

As impressive as the cast Clooney has assembled is, Anderson has him beat with The Grand Budapest Hotel. It stars (in addition to Murray) Ralph Fiennes, Saoirse Ronan, Jude Law, Adrien Brody, Edward Norton, Owen Wilson, Tilda Swinton, Willem Dafoe, Jeff Goldblum, Jason Schwartzman, Harvey Keitel, F. Murray Abraham, and Mathieu Amalric. The film takes place is the 1930s and 1960s and is about Mr. Gustave, the hotel’s concierge, as he deals with the guests while trying to train his protégé.

Career Highlights:

1)      SNL (1977-1980) – main cast member (DVD, Streaming)

2)      Meatballs (1979) – lead (Blu-ray, Streaming, Trailer)

3)      Caddyshack (1980) – supporting (Blu-ray, Streaming, Trailer)

4)      Stripes (1981) – lead (Blu-ray, Streaming, Trailer)

5)      Tootsie (1982) – supporting (DVD, Streaming, Trailer)

6)      Ghostbusters (1984)* – lead (Blu-ray, Streaming, Trailer)

7)      The Razor’s Edge (1984) – writer, lead (DVD, Trailer)

8)      Little Shop of Horrors (1986) – supporting (Blu-ray, Streaming, Trailer)

9)      Groundhog Day (1993)* – lead (Blu-ray, Streaming, Trailer)

10)   Ed Wood (1994) – supporting (Blu-ray, Streaming, Trailer)

11)   Kingpin (1996) – supporting (DVD, Trailer)

12)   Rushmore (1998)* – lead (Blu-ray, Trailer)

13)   Cradle Will Rock (1999) – supporting (DVD, Trailer)

14)   The Royal Tenenbaums (2001) – supporting (Blu-ray, Streaming, Trailer)

15)   Lost in Translation (2003)* – lead (Blu-ray, Streaming, Trailer)

16)   The Life Aquatic with Steve Zissou (2004)* – lead (DVD, Streaming, Trailer)

17)   Broken Flowers (2005) – lead (DVD, Streaming, Trailer)

18)   The Darjeeling Limited (2007) – cameo (Blu-ray, Streaming, Trailer)

19)   Fantastic Mr. Fox (2009) – supporting (Blu-ray, Streaming, Trailer)

20)   Moonrise Kingdom (2012) – supporting (Blu-ray, Streaming, Trailer)

*Editor’s picks