My obsession with Philip Seymour Hoffman knows no depths. Not only is he one of the greatest actors ever, he’s also stone-cold sexy. That strawberry-blond hair. Those searching, blazing eyes. The fact that he frequently appears in his underwear…
Okay, wait. I’ll get back to the point in a second. Hold on.
The POINT is that when I first saw ads for the upcoming film “Doubt,” I was all over it. A morally complex movie with religious overtones that may or may not have a gay subtext starring Meryl Streep and the sexiest man on the planet? I’m there!
Except then it was Christmas Day, and I realized (quite rationally, I think), that maybe “Doubt” wasn’t the best kind of film for that particular day off. We all remember last year’s “Sweeny Todd” debacle and how depressing that was. No, for this holiday, I would leave the choosing of the film up to my friend Mark, upon whom I forced the throat-slicing barber last Christmas. I knew he wouldn’t want to sit through a depressing period film that dealt, at least in part, with gay persecution.
He called me Christmas Day: “Let’s go see ‘Milk’!” So much for my theory.
Mark, his boyfriend Ben, and I all settled down in the back row of the theater to take in the story of Harvey Milk, the true story of California’s first openly gay elected official. I knew three things about the movie going into it: 1. I knew Harvey Milk was assassinated. 2. His killer used something called The Twinkie Defense – blaming his violent tendencies on junk food – to try to get off, and 3. That Sean Penn was likely to irritate me. I have liked Penn in the past, but my bafflement as to why people enjoyed “Mystic River” in general, and Penn’s hammy overacting in particular, has left a stain on my moviegoing psyche.
As such, I really had no interest in seeing this movie. It struck me as Important, and Necessary, and I usually delve into those waters when it’s Oscar season. As the credits began to roll, I wished for the relatively simple year when I went to go see the “King Kong” remake on Christmas.
And then … something changed. I was unprepared for the movie to explicate right at the beginning that Milk was shot. Having that information right up front should have bogged the film down, but instead it renders Milk’s assassination as a fact that we understand and absorb, so that we can better focus on the story.
It’s a terrific story, too, one with which I have only had a passing familiarity. I’ve never been a particularly political fellow, and growing up in the 90s with Barney Frank in Congress, it never really sunk in to me how important and revolutionary Harvey Milk was to gay rights. There’s a point early in the film when a gay man is killed and the cops, who seem to care, refer to the dead man’s companion as his “trick.” (Because cops know the lingo, see.) Milk explains that no, that was his lover of many years, not a trick. And the cops sort of shrug that off.
That resonated with me, as did the way Harvey Milk sort of stumbled into politics. He did it because to not do it was intolerable. Sometimes I forget what a damn struggle it has been – even in my lifetime – to simply be who you are if you happen to be gay. The movie takes on these issues but never gets lost in them. The story remains about the man more than the message, and as such never gets the chance to be preachy. Sean Penn, to my amazement and delight, disappears into his role. He’s so effective that at points it’s easy to forget his tragic end; the film is so oddly uplifting that the assassination seems almost beside the point. (The fact that it’s not comes crashing down in the final violent minutes of the movie, and by that point, you’re conditioned enough to be actually shocked.)
My friend Alonso has commanded that I now see the documentary, “The Life and Times of Harvey Milk,” which is now on my forefront of Things To Watch. I’ve never been all that into gay politics, but given the current state of political homophobia, maybe I should be.
Along the same lines of things you’re not supposed to discuss at dinner parties, we move from politics to religion. The Saturday after Christmas, I journeyed downtown, bought popcorn and a sodapop, and treated myself to “Doubt.” Based on the trailers, I was expecting a movie entirely centered around Philip Seymour Hoffman’s priest character and his inappropriate dealings with an altar boy under his tutelage. Instead, what I got was a morally complex story that may or may not have to do with the priest and the boy at all.
At the heart of the movie is Meryl Streep as the Mother Superior of a school she rules with an uncompromising hand. She is used to being right, or at least she is used to being considered right. Her students and the teachers under her watch follow her rule unquestioningly, which she likes just fine. She might never admit that – she would explain that she is simply following her faith – but being right is at the core of her character. She is unused to being wrong, and unfamiliar with changing her stance once she takes one.
This proves dangerous for Philip Seymour Hoffman’s priest character, whose entire being represents change. She doesn’t like him from the start, and as the film progresses, we wonder more and more whether Streep’s character is actually holding true to her convictions, or whether she simply cannot stand to be wrong.
The movie is full of strong performances. Meryl Streep and Philip Seymour Hoffman are at the top of their game – I would be stunned if both didn’t garner Oscar nominations. But maybe it’s because the movie is based on a play that they seem to KNOW they’re at the top of their game. The performances are never over the top or Oscar-grubbing, but it often seemed to me that these were Meryl Streep and Philip Seymour Hoffman delivering knockout performances. Whereas Amy Adams (in the role of a young nun who looks up to Streep’s character) and Viola Davis (playing the mother of the young boy in question, whose role is contained in a single, brilliant scene) never seem to be performing. They steal the movie with acting that never seems like acting, raising the movie up from An Oscar-Worthy Triumph to a watchable, engaging film that is still lingering with me. There’s some obvious stuff in it – light bulbs break and winds gust in at important moments, and the film’s final line seems awkward and too Broadway for a movie – but on a whole, “Doubt” impressed me almost as much as “Milk.”
If you’re a fan of quality films – or just seeing stuff before the Oscars are nominated so you can brag about being a Serious Film Buff – go see both of these movies. You won’t regret it.
Now, when’s that new “Wolverine” movie coming out?
Have you heard the new Killers album, “Day and Age”? Because, seriously, stop reading now and go out and buy it and then listen to it all the way through, and then listen to it again because it’s AWESOME. Seriously, AWESOME, with a capital A (or, in the case of an internet article where the HTML has gotten slack enough for me to hold down the shift key instead of italicizing, AWESOME is in ALL CAPS). Really, go buy it and upload it to iTunes and go to the gym with it or listen to it in bed as you’re drifting to sleep or brushing your teeth or something. I’ll wait.
Still waiting.
Okay, by now I assume you’ve listened to it nine or ten times like I have since getting it for Christmas. (Here I am also assuming that you are hyped up on Red Bulls and Bawls and eggnog chai from Starbucks, because this is how everyone wakes up, right? Right?)
Let’s start with the first single, “Human,” which I purchased from iTunes after I saw The Killers on “Saturday Night Live” a few months back and which I have since done a near-pitch-perfect version of at karaoke. (Seriously, I know when I’ve fucked up at the karaoke. Note: Alanis’s “Thank U” is not my song.) The song’s chorus has stirred some controversy – not from religious groups or from concerned parents, as most rock and roll does, but from staunch grammarians. The verbal disagreement in the line, “Are we human / or are we dancer?” has caused what can only be deemed a hilarious uproar. According to singer Brandon Flowers, the line is a paraphrase from Hunter S. Thompson … which makes the whole thing a little bit more understandable.
Regardless of all that, the song is full-textured KICK, with a side of RAWK and BITCHIN. Does it make any real sense? Of course it doesn’t. It’s The Killers, the band who made famous the line, “I’ve got soul / but I’m not a soldier.” But there’s an earnestness to Flowers’ singing, especially when he asks, “Will your system be all right / when you dream of home tonight?” As on the genius album “Sam’s Town,” The Killers make mythic the themes of home and youth and lost love. Nostalgia isn’t passive; it’s vibrant and sometimes violent.
That’s not to say the album is dire. After their glam-pop debut of “Hot Fuss” and their bid for epic Americana on “Sam’s Town,” they have figured out how to merge the two sounds on “Day and Age.” (This reminds me of how U2 found a way to merge the electronica of “Pop” and “Zooropa” with the soaring, ambitious rock and roll of their early albums on “All That You Can’t Leave Behind.” Except “Day and Age” is just a little bit better than that.) Their obsession with Bruce Springsteen – an obsession I fully endorse – is on full display here (especially on the absolutely perfect “A Dustland Fairytale,” which seems like a New Wave take on something from the Boss’s “The Wild, The Innocent, and the E Street Shuffle,” and “Losing Touch,” which could have been on Springsteen’s newest effort, “Magic.”) But there’s also some Elton John and David Bowie on “Spaceman,” early Blondie on “This is Your Life,” and “Joy Ride” is the most Duran Duran the Killers can possibly be without becoming a straight-up cover band. It’s eclectic all the way through, in ways that neither “Hot Fuss” nor “Sam’s Town” were, and that’s this album’s greatest strength.
The album isn’t without flaws. It’s a little unfortunate that the album’s final two songs – “The World We Live In” and “Goodnight, Travel Well,” are its weakest. It’s not for lack of trying, though: the former has a full string section and its lyrics strive for depth, and the latter is a brooding, spooky closer that weirdly recalls Phil Collins’ “In the Air Tonight.” By the end, when the drums and synths kick in big time and try to bring the song (and album) to a rousing close, they fall just a little short. Flowers tries to sound mournful but often comes across a little bored. It’s a terrific title, though.
But focusing on the shortfalls is a disservice to “Day and Age,” which is a really fantastic record. I honestly can’t get over how amazing “A Dustland Fairytale” is – especially some of Flowers’ more interesting vocal inflections, which manage to break out of his “bombast AND NOW MORE BOMBAST!” mode more than ever. And I’d be remiss in my duties if I didn’t mention the fantastic “Neon Tiger,” which seems to be told from the point of view of a, um, neon tiger, looking out over the Killers’ beloved/hated Las Vegas. Lyrics you don’t expect keep popping up, keeping us all on our toes. It’s exciting and fun, which are words that can be used to describe most of “Day and Age.” This is the perfect third album for The Killers, and I can’t wait to see what they do next.
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Tuesday, October 21, 2008
Chris Capone is slowly unleashing himself upon the world… and I’m digging every moment of it. Chris is the very cute soft speaking husky fellah that just happens to be the grandson of the original gangster Al Capone. Yup, Al Capone - be afraid (joking… I think).
Chris has been busy of late getting his story out, first by writing a book Son of Scarface to now working on a potential TV show as a mob leader. He’s also been very hard at work on his ChrisCapone.com website: Chris has a great eye for what’s going on in this world and he does a real good job at blogging about it. And his latest advent is now YouTube, so make sure to subscribe to his channel and check out his first video with many more to come.
Oh… I forgot to mention that Chris is a full fledge Bear. I’m sure his grandfather, if he were alive today, wouldn’t have a clue what to say about Chris… but I know what I would say if I would ever meet him… Woof…! (followed by a few pants). It’s time to follow Chris’ story if you haven’t yet (articles - feature).
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Awww.. Paw Paw Woof Woof.. To my friendly Bears over at www.PlanetBears.com for posting this article about mwa.. XOXOXOXO… Thank you for your support. You dont know how much it means to me and my mission… I am coming out with a new cologne called Vanilla .. Just for US Bears… Ya know what I mean?? Forget abawt it..
Love ya
Chris Knight Capone
MY QUOTE OF THE DAY:
” I dont care what people think, I have decided to be true to my BLOOD and LIVE my LIFE to the FULLEST ” Honey I AINT NO CLOSET CASE.. THATS FOR SURE.. STEP OFF !!
LOS ANGELES, California (AP) – An adorable talking dog remained just the sort of escapist movie hero audiences wanted after a week of awful economic news.
Disney’s family comedy “Beverly Hills Chihuahua,” with Drew Barrymore providing the voice of the pooch, was the No. 1 flick for the second-straight weekend with $17.5 million, raising its 10-day total to $52.5 million, according to studio estimates Sunday.
“Beverly Hills Chihuahua” is the only light comedy in a market heavy on drama. Chuck Viane, Disney’s head of distribution, said movie-goers may be turning to the perky pooch to help forget the market free-fall on Wall Street.
“This is only word-of-mouth coming back to us from theaters. I don’t have any statistical proof. But they’re telling us we’re getting more unaccompanied-by-children adults coming on their own. They’re looking for a little entertainment,” Viane said. “The axiom we’ve always lived by is funny is money. People come out for comedy. They love to sit back and let someone give them a couple of hours of escapism.”
The weekend’s No. 2 flick — the fright film “Quarantine,” which debuted with $14.2 million — filled the escapism needs for the horror crowd. The Sony Screen Gems release centers on a contagion that turns an apartment building’s tenants into flesh-hungry monsters.
BOX OFFICE TOP 10
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Media By Numbers LLC. Final figures will be released Monday.
“It’s probably the perfect kind of movie for today’s climate,” said Rory Bruer, Sony head of distribution. “Let’s just get away from the news, from all that’s going on, and go someplace else, and this is something that’ll take you someplace else.”
The marquee trio of Leonardo DiCaprio, Russell Crowe and director Ridley Scott had to settle for third-place with their terrorism thriller “Body of Lies,” which had a $13.1 million debut. The Warner Bros. film centers on a CIA operative hunting the terrorist responsible for bombings around the world.
“Body of Lies” may have dealt with too sober a topic after all the disastrous financial news, said Dan Fellman, head of distribution for Warner Bros.
“I think we ran into really difficult timing. The nation suffered such an economic loss this week that the mood of our audience was such that they were probably looking for a little more escapism than to see a movie on terrorism,” Fellman said.
The weekend’s other new wide releases, Universal’s football drama “The Express” and 20th Century Fox’s family fantasy “City of Ember,” opened weakly.
“The Express” — starring Rob Brown and Dennis Quaid in the story of Ernie Davis, the first black player to win the Heisman Trophy — came in at No. 6 with $4.7 million.
“City of Ember,” with Tim Robbins and Bill Murray in a post-apocalyptic adventure set in an underground realm, took in $3.2 million to finish at No. 10.
Keira Knightley’s historical saga “The Duchess” climbed into the top 10 as it expanded nationwide after three weekends in limited release. The Paramount Vantage drama, which stars Knightley as an 18th century aristocrat stuck in a loveless marriage, pulled in $3.32 million to place No. 9.
Two British movies started well in limited release. Guy Ritchie’s London crime romp “RocknRolla” opened with $141,000 in seven theaters. The Warner Bros. release features Gerard Butler, Thandie Newton and Tom Wilkinson heading an ensemble cast.
Mike Leigh’s “Happy-Go-Lucky,” a Miramax release starring Sally Hawkins as a woman whose eternal optimism is continually challenged, premiered with $80,000 in four theaters.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Media By Numbers LLC. Final figures will be released Monday.
Over the past 10 years, Mo’Nique has become one of the foremost funny-woman in Hollywood.
But the plus-sized comedienne’s recent revelation of teenage sex abuse is no laughing matter.
In the October issue of ‘Essence,’ the Baltimore native reveals that she was sexually abused by her brother at the tender age of seven.
“I was molested by my older brother,” she tells writer Audrey Edwards during one of her most candid interviews ever. “And even when I confronted him and told my parents, he said I was lying, and nothing was really done.”
‘The Parkers’ star said that her brother molested her four times over the course of four years, using certain tactics such as candy to lure her into the bathroom.
Her parents, she said, were in disbelief, but she didn’t hold them accountable “because me and my brother were both their children, and I just don’t know the kind of position they felt they were in.”
However, the way her parents handled the situation left her bewildered
Over the past 10 years, Mo’Nique has become one of the foremost funny-woman in Hollywood.
