Showing posts with label Hair. Show all posts
Showing posts with label Hair. Show all posts

Saturday, October 2, 2010

Should Case 39 be open or shut? Half and half for a laugh, perhaps?

Craig here, taking a look at Renée Zellweger's new cinema release. (There are a few mild spoilers contained)

Case 39 stars Zeéeeee as Emily Jenkins, a concerned social worker in a headband. She’s worried about the well being of a child. We’re more worried about her personal hair-care regime: when her hair is up, fixed in place with said headband, she’s out of danger; hair down means terror is likely afoot. Her life depends on the precarious positioning of her follicles. Make a note of the subtle differentiation as it will help guide you through the many twisty plot derivations of Christian Alvart’s new (though actually old*) horror-thriller.

Headbanded Emily Jenkins gets the titular case plopped on her desk, so she duly investigates a couple who she suspects have been mistreating their 10-year-old daughter Lillith (Jodelle Ferland). She scrambles to the couple's creepy house along with boss Ian McShane (growling an otherworldly accent as yet unidentified by literature or science), just as the parents are about to roast li’l Lill in the oven -- seriously, this scene is hilarious. Zellweger and McShane lay waste to moody-mom and bad-dad’s furniture and faces whilst rescuing the half-baked moppet. (McShane, trying out too-late for a role in The Expendables, literally dropkicks the mother into a table and indents a fridge with the father’s head - and McShane’s about 110 years-old! The Oscar for Best Supporting Sexagenarian Shit-Fit is his for the taking).

Be honest, does my hair look good like this?

Soppy ol' Emily, ditching the headband, gets to adopt Lillith and live happily... never after? ‘Cause, ah, you see, maybe there’s more to case 39 than our Zeéeeee bargained on (as we’ve only sat through half of the film's 109 minutes). Is Lillith actually as sweet and innocent as everybody initially thought? Could she be the devil with a dollhouse? If you haven’t guessed what’s happening by this point then you haven’t been paying attention to the headband theory. (Hair up = phew, safe; hair down = argh, get that spawn of Beelzebub off my property, post haste!)

Renée keeps the family dinner warm in Case 39

Emily soon forgets about cases 1 through 38 (all other kids in peril can obviously go take a jump) to do everything in her power to Get To The Bottom Of All This. There are a handful of amusing scenes along the way, and more than a few howlers peppering the plot; a fun so-bad-it's-good time’s almost to be had. If you're willing, try a few pre-movie drinks. One scene where Lillith asks a headbanded Zeéeeee if she could brush her hair had me shouting, 'Yes! For the love of God, yes! Take that headband away and brush her hair!'

Bradley Copper responds to Renée putting the Chicago soundtrack on.
and other captions.

There’s a naked Bradley Cooper as Zeéeeee's beefcake beau, who has his bath time royally ruined by a particularly pressing wasp problem; he then buzzes off halfway into the film (the script for The Hangover must have arrived.)  Although the scene where Ferland is interviewed by Cooper, and acts him and anyone else (in this scene and others) right off the screen, is genuinely creepy. Renée just puts on a tight face and stands by looking awkward. In a headband.

Renée is driven to dispair by her missing headband.

The editing may have been carried out by a drunken Edward Scissorhands, and the pace is defined by accident rather than design. Case 39 is more eventful than Joshua, but doesn’t have the daft-but-nifty twist or fun factor of Orphan - two other recent Is My Kid Satan's Spawn? genre entries. It’s so close to being a new trash gem, but, despite a grab-bag of chucklesome moments early on, it wimps out at the last minute with a wet whimper. Near the end Renée says, “You know, none of this should ever have happened!” Oh Zells Bells - you took the words right out of my mouth.

*The film was completed in 2006 but has only now seen the light of day, after an ever-shifting release date pattern that took in fifteen date changes over three countries.

Case 39 is in theaters now

Sunday, June 13, 2010

Yes, No, Maybe So: Tangled

Unnghhwhaa? I thought Rapunzel i.e. Tangled was going to be a YES for me from day one. But...



Teaser trailers are supposed to excite you. Unless they've changed the def' in Websters, this is not what I'd personally describe as "excitement". This is no tease, but a bully. But let's break down the reaction anyway to our traditional yes, no, maybe so trailer feelings.

I've been waiting my whole life for Disney to take on the Rapunzel story. In fact, when I was a kid and reading books on animation and wanting to be an animator myself, this is the fairy tale I fixated on as something they hadn't done and why was that and could I please do it myself? Plus, it is a musical and Alan Menken is sometimes brilliant (even if they did make the bizarro choice to do the songs with a 60s flavor).

How bad could this movie really be?

I don't wanna know the answer to that question.

I mean... "This is the best day ever!"??? Ghastly! Doesn't this take place in ye olde medieval times and isn't Rapunzel a shut in? Shouldn't it be easier to imagine her as Sleeping Beauty's BFF rather than a member of Bratz. Anyway, both Rapunzel and her prince charming type, refashioned here as a thief, seem to be enrolled in that infamous late 90s/ early 00s school for bratty self-aware animation where characters do "funny" antics while random rock songs play or make anachronistic jokes & pop culture references that have utterly no connection to the time period or the material. This school's dread curriculum first entered Disney product with Aladdin and by the time of Hercules and Tarzan, all the classic textbooks had been replaced. I began to realize that nothing was ever going to feel as pure and magical and, well, mature, as Beauty & The Beast again. Shrek (not from Disney) was the star pupil of this Satanic School's teachings. I HATE SHREK. So I transferred out as quickly as I could and put all my hopes and future dreams in the hands of Pixar and imported Mizayakis.

But sometimes I miss classic Disney fairytales so this is not the best day ever.

On the other hand... if I hadn't been wanting to see Rapunzel onscreen since I was a wee thing constantly brushing and braiding my big sister's long tresses, ! I know! maybe I'd find this cute? I mean cute like Flynn Rider and his porn name who you know'll start showing up in those lustful Disney fan-fantasies soon enough. If I see it when I'm feeling exceptionally generous, might it be [gasp] fun? We don't see Mother Gothel (the villain) in this teaser but Donna Murphy is providing her voice. Donna Murphy is amazement, trust. Can there at least be an excellent song for her? A "Poor Unfortunate Souls" level classic?

Help me out here with your own yes, no and maybe sos. Tell me I worry too much.
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Tuesday, June 8, 2010

Lady Gaga's Alejandro: The Fun & Folly of Appropriation

Madonna was once both adored and reviled as "The Great Appropriator" so I suppose it's only fair that Lady Gaga borrows from her. When I first heard "Alejandro" I kept thinking 'Oh, Ok. Gaga has to have her own "La Isla Bonita," too.' And then she went and collaborated with frequent Madonna iconographer Steven Klein for the music video.



So even though Klein is shamelessly borrowing from his own past work here, the wonderful thing about Gaga is that, like her spiritual pop empress predecessor, she's her own artist, too. This makes the appropriation palatable as well as fun... until crazed fans start giving her credit for everything. [But that's another funny subject matter entirely.] I mean even Madonna didn't invent the chameleon approach to pop stardom, though her fans, like Gagas, also tried to give her credit for it at the time.

Doesn't that "what on earth will they wear/look like next?" thing go directly back to Bowie? Or is it earlier than that. Paging pop historians???

Blond helmet bobs and flare pants forevah!

So mark my words. Someday soon -- let's say within the next 3 years -- Gaga is going to have her Madonna "Live to Tell" moment wherein she totally shocks the world, not with a new provocative look but by showing up with a demure, classic one. It'll get everyone talking as much as any diet coke can hair rollers ever did.

The Madonna / Steven Klein collaboration from 2003
One might call the stylings Gaga-esque but for the year in question

So, my point is this: Clumsy homage/ripoff like the kind that Christina Aguilera does in "Not Myself Tonight" when she plagiarizes both Madonna and Gaga *shudder* is not fun at all and should be looked down upon. But riffing on the work of others in a new context or with a fresh twist is totally fun and what many great artists do.

We see this in feature films all the time, too. Both of the best shots in Pedro Almodovar's Broken Embraces are arguably inspired by other work: There's that white sheet shrouded sex scene (Margritte) and that moving emotional climax with the hands caressing the static image (which I'm hearing is a Godard reference... but it totally works in the Almodóvarian context). A couple weeks ago we chatted briefly about the various A grade riffs on Ingmar Bergman's Persona (Lynch's Mulholland Dr and Altman's Three Women). And everyone knows that the wildly popular Quentin Tarantino is all about referencing other movies. But whether or not we recognize the references --I often don't with Tarantino since the genres he loves most are weak spots for me -- great artists reference past work only in the service of making their own fresh visions.

The only real issue with doing this is when the new artist acts as if it's completely and 100% their invention. Which is why it was a shame that Beyonce's otherwise awesome and awesomely ubiquitous "Single Ladies" video didn't have a "thank you Bob Fosse" attached to it, for example.

Madonna & Gaga. They're both "tops"

So, I can't help but think about Madonna the entire way through"Alejandro" maybe because of the Catholic imagery. I see "Alejandro" like so: Madonna's men in cone bras helping hot blond divas masturbate (Like a Virgin, Blonde Ambition Tour), women topping men suggestively in dance choreography (Express Yourself, Blonde Ambition Tour) and catholic girls obsessing over funerals and death in snowy black and white ("Oh Father") plus a couple choreographed bits from "Human Nature" and "Express Yourself" all get tossed into the Gaga/Klein blender and come out the other end as an angry military puree. Here the woman isn't topping men with a flirtatious feminism but actually appears to be penetrating them rather more subversively like a man would. And instead of just obsessing at the coffin and weeping for her dead loved one, the girl is actually leading the funereal procession. And the cone bras become guns. Bang Bang.

I'm not sure I've ever fully registered the sheer amount of aggression in Gaga's art before. But after the mass murder of "Telephone", the crispy end-gag in "Bad Romance" and the poisoned Skarsgaard in "Paparazzi," and this, it's abundantly clear. Suddenly those silly rumors about Tarantino wanting to work with her that sprung up when she used Kill Bill imagery for "Telephone" make more popcultural sense. Gaga is out for blood!

Unfortunately this new video is too effortfully mounted and grave to be half as fun as her previous outings and it also feels more derivative. Will she ever top the exquisite aesthetic control, hilarious sight gags and awesome choreography of "Bad Romance"? That said, even though I'm unmoved by this new work, I really love Lady Gaga and remain thrilled that someone is taking the music video format so very seriously again and has the fanbase to back up that particular passion. It had been a long while since each music video premiere felt so "NEW SHORT FILM!" headline worthy.

Three final errant thoughts...


On a shallow film referencing note, can I just say that I absolutely hate beautiful men with perfect bodies. It's entirely unfair that anyone can stay "hot like Mexico" while sporting Moe's Three Stooges 'do. Entirely unfair.

How much do you love that lyric "you know that I love you, boy | hot like Mexico"? Well, I love it more than you do. Genius.

This final image is thrilling and for some reason it makes me desperate to shove Lady Gaga into a time machine and make her do a video with James Bidgood or Ken Russell in the 70s, Almodóvar in the 80s or maybe Pierre et Gilles or Marc Caro & Jean-Pierre Jeunet in the 90s.

Monday, February 22, 2010

Beauty Break: Return of the Pixie

Two of Hollywood's most in-demand young actresses, Carey Mulligan and Mia Wasikowska are now sporting blond pixies. Who's next? Is the 'do about to take over? It hasn't been this Hollywood prominent since Winona Ryder sported it so memorably in the early 90s.


I looked at these two photos from BAFTA (previous post) and an Alice in Wonderland event this weekend and all I could think was Project Runway companion look challenge. Variations on a theme it is: black florals for blond pixies.

What do we think of Mulligan's dress? I almost love it but I really hate it, too. I plan to co-star with it in my next romantic comedy.

More Pixies from Mia Farrow through Winona Ryder. Annette Bening & Halle Berry are probably the true loyalists, always returning to the look.




edited to add: and my beloved NATALIE WOOD. How could I forget?!

Friday, January 1, 2010

Say What? Rapunzel

Amuse us in the comments. Add a caption or dialogue to this new image from Disney's next fairytale animated musical, Rapunzel


I'll repost on Wednesday with the winning entry.

P.S. When I was a little kid I totally dreamed of being an animator. And you know what fairy tale I wanted to make since Disney wasn't doing it? You guessed it. God, I hope this one is good. It opens next Thanksgiving or thereabouts.
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Wednesday, November 25, 2009

JA Gives Thanks...

... for the weirdly discomfiting scene at the pizza place early on in Ti West's terrific horror-throwback The House of the Devil. It cements everything that the film does so well, from the uncannily spot-on period detail to the off-kilter hum of dread throbbing below the most banal of surfaces. Greasy pizza will murder us all!


Plus Greta Gerwig's hairstyle is just flippin' rad.
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[Editor's Note: the official site says this is now available VOD if you're curious]

Saturday, November 14, 2009

Birthday Suits: Good Hair, and Good Music.

Celebrating the birthdays of the film-famous. If it's your birthday, we'll sing you a happy one in the comments.

Louise Brooks, Veronica Lake and Josh Duhamel

1906 Louise Brooks, dancer, silent film actress, icon, quotable diva, film critic, memoirist, ...Lost Girl, Lulu. Her hair is legend.
1908 Joseph McCarthy, he saw only Red(s). He's been a villainous figure in movies ever since, whether seen, unseen or fictionalized. See: Guilty by Suspicion, The Way We Were, The Manchurian Candidate, Good Night, and Good Luck. and many more...
1919 Veronica Lake, femme fatale, purveyor of the peek-a-boo bang (her hair also being legend). Kim Basinger didn't even have to get "cut" to look like this goddess in LA Confidential. She just had to sell those glorious blonde waves.
1945 Paul Hirsch, editor of Carrie, Star Wars (Oscar win), Ferris Bueller's Day Off and more...
1951 Zhang Yimou, fine director, awesome goddess worshipper. Think of what he did for both Zhang Ziyi (Hero, The House of Flying Daggers) and Gong Li (Raise the Red Lantern, Ju Dou, Shanghai Triad)
1952 Chris Noonan, writer/director of the wondrous Babe (1995)
1954 Condoleeza Rice, crazy person. Also played crazily by Thandie Newton in W.
1972 Josh Duhamel actor often seen being chased by giant fucking robots and/or Fergie

How is this for a weird coincidence? Leopold Mozart and Johann van Beethoven were both born on this day in the 18th century. They would go on to father enormously important children. Their offspring are none other than immortal and beloved composers Wolfgang Amadeus Mozart and Ludwig van Beethoven. There have been countless films about musicians over the years and there will be countless more -- silent purists may argue but music was a good match for the movies -- but in this particular arena will anything ever top Amadeus 's enviable success trifecta: critical/commercial/Oscar?

Wednesday, June 10, 2009

If you could...

...have the hair of one movie character rather than your own whose would it be? I think I might opt for Superman's spit curl or anything with a widow's peak. [This comment question is sponsored by Nathaniel's freshly shaved head and very random brain]

Wednesday, April 8, 2009

Hump Day Hotties, Will Swenson in Hair

<-- This hippie to your left is Will Swenson, backstage at Hair here on Broadway. Not Hairspray, Hair. (They definitely don't believe in hairspray in this show. The locks must be free to fly about, the wilder the better.)

Swenson plays Berger (one of the musicals two leads) and the leader of the "tribe" of drugged up sexually uninhibited anti-war kids that the musical fawns over as they drop out in Central Park. The other lead is Berger's less wild best friend "Claude" played by freshly out Broadway regular Gavin Creel. He replaced Jonathan Groff (Spring Awakening) who did the role in Central Park last summer. We assume he dumped Hair for his part in Ang Lee's Taking Woodstock? It's the musical's loss but who can blame him. You'd take a role in an Ang Lee film, too.

I apologize that I've been so weirdly name-droppy lately (I blame the recession ... it's fun, try it) but fact: I went to college with Will Swenson. We were both there the same time as Aaron Eckhart. I didn't really know either of them, only of them, but that hardly matters when name-dropping. My two best friends knew them (they ran with the actor/dancer crowd) ...so I pretend like I did.

Will Swenson in Hair (2009) / Treat Williams as "Berger" in the movie (1979)

So there Swenson is in the altogether in HAIR (the famous 1st act closer still includes the whole cast getting naked). Our alma mater would most definitely not approve. In fact, Swenson's fans probably won't either. Will Swenson's film career has been almost entirely as a star actor/writer/director in the ultra specific and insular world of Mormon movies with films like Singles Ward and Sons of Provo on his resume. (That filmmaking wave won a brief bit of media attention outside of Utah in 2000 but quickly retreated back into its own bubble). But if his original fans disapprove of his latest performance, it's their loss. The Berger role is spiritually akin to the emcee role in Cabaret: he addresses the audience frequently, taunts them sexually and serves as guide into this strange world. Swenson doesn't pull any punches. His is the most sensual performance and he's got the best head of hair. He's completely "best in show". A TONY nomination better be forthcoming.

<-- the 1979 movie featured early career performances from Treat Williams, Beverly D'Angelo and John Savage. It was Milos Forman's follow up to One Flew Over the Cuckoo's Nest.

I've always had trouble getting through Hair (1979) the movie. Have you seen it? I don't actually think much of the musical in general, on stage or film. It lacks as much direction as the characters it shines its sun on and I always have issues with musicals that only have 2 or 3 great songs. That said, this new production is great. The revival minimizes nearly all the musicals inherent flaws and maximizes everything that's resonant about its energy, sexuality and politics with exuberant setpieces, high energy performances, doses of reality and absolutely terrific staging which involves the audience more vigorously than any Broadway production has in recent memory. If you're visiting New York anytime soon, it's a totally rousing night of theater. This production: A

P.S. This production was so good, and its Vietnam era angst so resonant with contemporary shadings that I almost want someone to grab the film rights again. Surely more can be wrestled from it than what Milos Forman got? Here's the famous opening number "Aquarius" as interpreted in his film version and, just for fun, a number from a stage reading of another Broadway to Movies back to Broadway property, Camelot (Will Swenson is Sir Sagamore and singing with Marin Mazzie as Guinivere. He shows up at the 1:57 mark)


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