‘Quantum of Solace’ builds on new Bond legacy
November 20, 2008
By Sam Watermeier
<swatermeier@hilite.org>
After killing two men with his bare hands, the man stares at the mirror, looking at the monster he has become. This quiet moment with James Bond from 2006’s “Casino Royale” single-handedly revolutionized the “Bond” franchise. By showing Bond’s shame, it added an emotional layer completely lacking from the previous installments. The mirror motif is continued in the follow-up “Quantum of Solace,” except this time when Bond looks in the mirror, he coldly wipes some blood off his face and presses on instead of examining his self-worth. This reflects (no pun intended) the goal of the film which is providing non-stop action and pure escapism. “Quantum of Solace” is not a dark character study like “Royale” and in a year filled with gritty, heavily dramatic Hollywood films like “The Dark Knight,” this kind of lighter affair is refreshing. Through the screenplay and Daniel Craig’s performance, the film even justifies its lack of depth by explaining Bond’s need to be emotionally detached. Read more
Local indie band breaks out with second album
November 20, 2008
By Renny Logan
<rlogan@hilite.org>
Last year, Grampall Jookabox released its wild child debut
“Scientific Cricket.” The CD contained an array of influences, from folk to experimental. With paranormal-inspired lyrics and crackly, raw recordings, the capricious debut had much to offer listeners disinclined to mainstream music. On Tuesday, the band (if you can even call it that; its composition is loosely formed) released its second CD “Ropechain.” Read more
It’s Spectacular!
November 20, 2008
By Lexi Muir
<lmuir@hilite.org>
Every year, the choirs here work together to put on the single most popular show at this school, “Holiday Spectacular,” which is scheduled to begin this year on Dec. 3, earlier than in past years. It is the most attended and the most talked about show of the year. As a celebration of the sounds of the season, the directors and performers have one goal: to get everyone in the audience into the holiday spirit. Read more
‘Role Models’ modeled after funnier movies
November 6, 2008
By Bennett Fuson
<bfuson@hilite.org>
When I first saw the trailer for “Role Models,” the new Paul Rudd/Seann William Scott comedy about two energy-drink promoters who are sentenced to community service as youth mentors, I was beyond excited to see it on the big screen. Rudd, who has subtly taken the comedy world by storm with supporting rolls in “Anchorman” (as suave Brian Fantana), “The 40-Year-Old Virgin” (as slightly obsessive clerk David), “Knocked Up” (as brother-in-law Pete) and “Forgetting Sarah Marshall” (as burnt-out surfer Chuck), has long deserved a lead role. And costar Scott, best known as Stiffler from the “American Pie” franchise, hasn’t been able to connect to a role quite like his sexed-up claim to fame, even with such cinematic masterpieces as “Mr. Woodcock” and “Southland Tales.” (Insert audience laughter here.)
Unfortunately for both, “Role Models” isn’t quite what either star needs to begin his career as a leading man. Not that the effort wasn’t attempted; “Role Models” takes from every successful comedic element of recent cinema (raunchy language, physical humor, subtly-racist/homophobic banter and geek culture, to name a few). But what “Role Models” lacks is a connecting story and characters to feel for, elements that other recent comedies have successfuly implemented (or at least tried).
Rudd plays Danny, a pessimistic spokesman for Minotaur Energy Drink who fears he is wasting his life. Scott plays Wheeler, the company’s costumed mascot who is “living the dream!” When Danny crashes the company’s promotional truck (decked out in bull-horns and flame decals) into a school statue after a run-in with the cops, he and Wheeler are given a choice; serve 30 days in prison or 150 hours of community service.
The two men choose the latter and are placed under the supervision of Sturdy Wings, a “Big Brother, Big Sister”-esque program run by Gayle (Jane Lynch, the disturbingly personal manager in “The 40-Year-Old Virgin”). The two “bigs” are paired with their “littles:” Danny to Augie (Christopher Mintz-Plasse, aka McLovin) and Wheeler to Ronnie (up-and-coming Bobb’e J. Thompson). Both pairs struggle to connect with each other but eventually find that they have more in common with each other than they originally thought.
What sets up “Role Models” for failure is its lack of originality. Rudd, whose characters are best known for self-depreciating attitudes, does nothing to differentiate Danny from his other roles. Scott, meanwhile, cannot escape his Stiffler typecast; it’s not incorrect to say that Scott probably can’t play a character with a maturity level higher than a 14-year-old kid.
Mintz-Plasses, who so effortlessly brought back the awkwardly-cool popularity of being a geek in “Superbad,” also suffers from typecasting: his Augie is obsessed with a fantasy world akin to “Lord of the Rings.” Thompson, though, provides promise as scene-stealing Ronnie, although his salty language is sure to offend the faint-of-heart and put parental advisory groups up in arms. (12-year-old Thompson uses language that would offend grown men).
“Role Models” will most likely do well at the box office, especially with the teenage crowd. But for the $10 movie ticket, don’t be surprised to feel a sense of emptiness or maybe even deja vu after watching the movie, because yes, you have seen that humor somewhere else before.
-
“ROLE MODELS”
- Starring: Paul Rudd, Seann William Scott
- Rated: R
- Directed By: David Wain
- Overall: B-
Hollywood’s Hall of Presidents
November 6, 2008
With a new president and changing government, we present the top five political films, as well as a soon-to-be classic
“W.” may well be the best film of the year. However, it is only one of many great political based movies in film history. Here are some more political films worth watching to celebrate this electio
This is another film like “W.” that does not condemn a president’s behavior, but genuinely tries to understand it. Director Oliver Stone and Anthony Hopkins as Nixon take a mature and objective approach to the material. The film shows all sides of Nixon including his infamous Watergate days, but also his sadly lesser known accomplishments such as his establishment of diplomatic relations in China and formation of a treaty to limit strategic nuclear weapons in Russia. This film shows that when it comes to political stories, it is possible to be fair and balanced.
This film is daring for creating comedy out of fear: fear of nuclear war, fear of dictators. It provides a cathartic experience. It is rare to find comic relief in issues such as nuclear annihilation, but being the master he is, writer-director Stanley Kubrick (“The Shining,” “Full Metal Jacket,” “A Clockwork Orange”) made this story into an enduring comedy masterpiece. It is perhaps the best satire on the politics of war ever made.
3. “The Contender”
This film about a female vice presidential candidate suffering from unpopularity and scandalous accusations is more relevant now than ever. At the time of its release, “The Contender” heavily mirrored the story of Bill Clinton’s Monica Lewinski debacle with its exploration of scandals and rumors bringing down politicians. Now, the film mirrors Sarah Palin’s situation. This proves that this film will remain relevant for years to come with its universal themes.
4. “Bulworth”
A hilarious and greatly underappreciated film, “Bulworth” is about a presidential candidate that can’t seem to keep his mouth shut or stop trying to be hip. He even raps about socialism at one point. This film, directed by its star Warren Beatty (“Reds,” “Dick Tracy”), is a brilliant satire on politicians’ desperate desire to be celebrities. Like “The Contender,” this film’s satirical material proves timeless especially after seeing Barack Obama dancing on “Ellen” recently as well as Sarah Palin’s appearance on “Saturday Night Live.”
5. “Good Night, and Good Luck”
Although it is more about powerful journalism than politics, this film exposes government paranoia and political prejudice with its story of Edward Murrow’s defiance of McCarthyism. The CBS reporter’s attack on Senator Joseph McCarthy exposed dangerous flaws in politicians and made for a proud moment in television history. This is a hard-hitting film that inspires us to question politicians.
‘W.’ stuns with emotional portrayal
November 6, 2008
In an early scene from “W.,” a character says, “Politics do not define a human being. There’s more to people than how they vote.” This statement is the key to director Oliver Stone’s (“Platoon,” “JFK,” “Wall Street”) take on George W. Bush. WARNING: “W.” is far from the full-fledged, biting satire the previews suggest. While it does poke fun at the President’s inarticulateness and occasional confusion, Stone is never mean-spirited. His effort is to humanize Bush by exploring his insecurities and frustrations. By focusing more on his personal life than his politics, Stone gives Bush’s story a universal appeal.
“W.” bounces back and forth from Bush’s time as President to his early days of hard partying and failed jobs. The film shows how Bush’s recklessness deeply disappointed his father, played by the excellent James Cromwell. This disappointment is the catalyst for Bush’s insecurity. Much of the film depicts his struggles to impress people, especially his father. No matter what he accomplishes (even becoming President), he never gets the respect and love he wants from his family and peers. This is the real tragedy behind “W.” that makes it such a poignant character study.
For the emotional power that results from this biopic journey, give credit to Josh Brolin for his sympathetic portrayal of our current president. He transcends mere imitation of Bush and creates a charismatic and often tragic character. He engages the audience by portraying Bush as an everyman. At times when he is being panned by the media for his political decisions, his charm evokes sympathy. Brolin also brings a saddening pensiveness to the role. In every scene, he makes Bush seem like he is quietly judging himself. By the end of the film, he convinces the audience that Bush has no respect for himself and that he will never love or accept himself for who he is. The most important strength of Brolin’s performance, though, is his ability to cause the viewer to empathize with Bush not only as a character but also as the President in reality. This is quite the feat considering Bush is one of the least popular presidents in American history.
—
“W.”
Directed by: Oliver Stone
Rating: PG-13
Overall: A
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