Weekly Mini-Review: The Lorax (2012)

Screen shot from The Lorax

Screen shot from The Lorax

Story: A boy living in a plastic city goes in search of a real tree to impress a girl, but after hearing the story of how the environment was ruined by corporate greed, he tries to bring back nature.

Review: Overall, not a bad movie. The music is okay, if a tad on-the-nose lyric-wise. But cartoons aren’t noted for subtlety, so I guess I can forgive excessively heavy-handed rhetoric. The visual imagery of the CGI tufty, pink trees is especially spiffy. The bears, as one might expect, are pretty funny. Not so sure if bears can eat marshmallows though. It has three high-pitched fish that I can only assume are taken straight from the three mice in the movie Babe. The dialogue and voice actors for the humans are about average. Not bad, not great. The music is passable. The Lorax character himself is just obnoxious enough where it can be hard to stay on his side at times, but he’s supposed to be a nuisance for the inventor/capitalist so it makes enough sense.

I’ll see if I can get a hold of the 1972 version so I can compare.

Recommended for: Dr Seuss fans, CGI animation fans

Content notes: (G)

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The Spontaneous Precipitation of Fairy Tale Rip offs

At first the sudden appearance TV shows like Grimm and Once Upon a Time seemed fallout from the not one but two movies about Snow White made in the last year or so. But that was only the beginning. Now we’re seeing trailers for 2 Hansel and Gretel movies, at least one Red Riding Hood movie, a Jack the Giant Killer movie, a Jekyll and Hyde show, and so on. But why?

There are several theories. Some suggest that it’s an extension of the fantasy trend that started with Harry Potter and mutated into the whole Twilight fiasco. Others suggest that it’s part of the escapism that ramps up during times of social and economic tumult (although this theory is clearly wacky, since all of these fairy tale adaptations are made specifically to take idealized characters/stories and make them deeply flawed and nihilistic).

My theory? Its a combination of writers not being creative enough to come up with new stories (and using free, pre-fabricated, public domain content as a base), multiple media corporations buying variations on the same idea because of the banker/factory owner mentality that gave us an entire dial full of radio station that are all playing the Billboard Top 20, and the uptick in the trends previously discussed on this blog of the disappearance of the wide-eyed, idealistic hero and the Angsty, Angsty Antihero.

In the end, they’re all just lumped in with the innumerable other bad remakes of old movies. Unfortunately, they haven’t quite grasped the concept of what makes a good remake.

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How to Remember Movies Fondly, Even When They Stink

Try watching a few movies you only saw once or twice when you were a kid and see how well you remember them. Not only will you remember them differently than other people, but you might have even rewritten the movies themselves in your head.

Memory is a very subjective thing. Everyone remembers events differently. Some people, often without consciously meaning to, change their own memories to fit their unique proclivities. This is one of the reasons why eye-witness testimony is so notoriously unreliable.

People change their memories of life to suit their preferred version of reality often enough, but it’s more shocking with movies because you can actually watch them later and find out you changed everything in your mind. It’s scary, but (in the case of movies, anyway) not entirely a bad thing.

I first saw Hitchcock’s Spiral Staircase when I was little. I thought it was a memorable movie and remembered it as being great. The problem? I watched the movie just a little while ago and it turns out that the movie I remembered was mostly made up in my own mind. In my version, the hero was a policeman who got involved in the situation just because he liked the mute girl, and the villain was the country doctor. The heroine still couldn’t talk, but the ending was like this:

The doctor talks to the mute girl on the grand staircase in the main house, gradually revealing his nuttiness. Meanwhile, the hero comes up and knocks on the door, calling to the girl. The girl tries to get away, but the doctor grabs her and they struggle. The hero idles outside, unknowingly. Just as the doctor’s hands begin to close around her throat, and the hero outside turns away to leave, she wells up her effort and forces out a grating scream. The hero bursts in the door and vanquishes the evil doctor.

My memory of How Green Was My Valley was similarly modified. In my version, O’Hara’s character and the preacher loved each other, but she was too devoted to taking care of her family to consider leaving. At the end of the film, the boy starts to work and she finally marries him.

If you’ve seen either of these movies, you know how far from the actual stories my versions were. And it is a bit unnerving to think that my young self was capable of re-writing the memories of movies for the sake of my own enjoyment and idealism to such a degree. It makes me wonder how much, if at all, I did that to reality – and what that implies reality must have been like. This said, I really wish that those movies had been made the way I misremembered them. They would have been so much better.

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Weekly Mini-Review: The Escape Artist (1982)

The protagonist asks the editor of the local newspaper to issue a challenge.

Story: A young drifter uses his skills as a magician and escape artist to get along in life, and gets tangled up with a crime ring along the way.

Review: The Escape Artist is a neat little movie. It’s one of those quiet, little character pieces that tend to sneak under the radar unless you just happen come across it by accident. The ending isn’t completely satisfying, but that’s okay because it’s not really the kind of movie to wrap things up in a neat, little bundle. What I particularly enjoyed about this film was the ever-popular, but hard to pull off well, idea of someone with a particular talent (magic, in this case) using their knowledge, and a bit of cunning, to do something unrelated and interesting like busting up a crime ring, even if it wasn’t necessarily something the protagonist had originally set out to do.

The people involved in its production is an interesting aspect that was surprisingly pleasing as well. It was directed by Caleb Deschanel (who is usually a cinematographer, and also the father of the Deschanel sisters) and produced by Francis Ford Coppola (which really shows in a couple of scenes that carry a highly Godfather-like mise en scene). Griffin O’Neal, who is essentially never heard from again after this film makes an excellent capable yet grounded young boy-wonder protagonist. The only funny part is that I thought he was acting to mature for his age, but it turns out the actor was actually about eighteen years old – despite looking about twelve. Desi Arnez makes a good villain, and the movie is stuffed with old favorites like Jackie Coogan, Hal Williams, Huntz Hall, and Teri Garr.

Overall, it’s well worth watching.

Recommended for: fans of FX, MacGyver (for the concept).

Content Notes: (G)

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Weekly Mini-Review: Super 8

A shot from Super 8 with the kids shooting a scene

Story: A group of kids out filming a scene late at night see something they weren’t meant to and eventually unravel a government secret.
Review: It’s largely a kids movie, aimed shamelessly towards wannabe filmmakers, and Spielberg has just a tiny whiff of the E.T plot in there towards the end. There are one or two slightly unnecessarily silly scenes that last a few seconds, but overall I think it’s a really great movie. Even the frequent, super obvious one-liners are funny (e.g., the kids are trying to escape exploding stuff and the alien, but an older teenager is too stoned to be moved. One of the boys yells, “Drugs are so bad!”). And, of course, there’s the obligatory Lucas/Spielberg line of “I’ve got a bad feeling about this” in there too (slightly reworded, in this case). Also, there seems to be more of Spielberg’s style in this than that of the director, J.J. Abrams (Fringe, Lost, Alias). Nonetheless, the Cloverfield-like treatment of actually seeing the alien is duly noted. I’m not sure how I feel about the portrayal of parents in this film. It’s something along the lines of, “Well, they’re kinda dumb and over-emotional, but at least their intentions are good and they’re trying their best, so we love them anyway” kind of a deal. Even so it’s nice to see Kyle Chandler (from Early Edition) in a somewhat likable role again as the moderately grumpy, but fairly bright father of the protagonist.

Recommended for: Fans of The Goonies, Independence Day, E.T.

Content Notes: (14) – There’s a bit of swearing and splattered blood, and the alien might look too scary to younger kids. Not nearly as gory as Jurassic Park though.

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Weekly Mini-Review: Beverly Hills Cop (1984)

Eddie Murphy (as Detective Axel Foley) with his two sidekicks, played by Judge Reinhold (right) and John Ashton (left) in Beverly Hills Cop.

Story: A Chicago cop goes to L.A in search of crooks and irritates the local authorities, but gets the baddies in the end.

Review: Like the Fletch movies, this film features a puckish guy (Eddie Murphy) who skirts the rules and gets away with things because he’s tricky and lucky. His varyingly unwilling sidekicks are pretty funny too. For those who might be put off by Murphy’s more recent and highly sucky films, don’t worry. This, and the other Beverly Hills Cop movies, are very different.

Recommended for: Fans of funny police/man against the machine movies.

Content notes: (L, V, PG, C) – The dialogue consists largely of swear words and there are lots of bloody shootouts, but if you get the cussing-dubbed version I don’t think the violence would bother most 8-year-olds. Actually, this trilogy is my Mom’s favorite set of movies. Still, each kid is different so parents should watch it first and judge for themselves.

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Weekly Mini-Review: Scoop (2006)

Hugh Jackman, Scarlett Johansson, and Woody Allen in Scoop

Story: A perky, young girl-reporter tracks down a Zodiac-centered serial killer in jolly old England with the help of a nebbishy magician.

Review: This is really one of Woody Allen’s few very cute movies. Scarlett Johansson does a perfect pushy, cute reporter. Hugh Jackman (until a certain point) seems to have fallen straight out of a Jane Austen novel as the male romantic lead. Allen does his usual good job playing a slightly modified version of himself. Well written and acted, good visual design.

Recommended for: people who like the cheesy little one-off mystery flickers made by the ton in the 1930s-40s (e.g., Danger Ahead, The Kennel Murder Case), and people who like good romantic comedies (e.g., I.Q., Heart and Souls).

Content Notes: (PG) – I don’t remember anything particularly shocking in this movie.(spoilers) Certain characters do kinda meet a mythological ferryman of the dead, but even that’s pretty silly.

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Weekly Mini-Review: Diagnosis Murder (1993-2001 + some TV movies)

The show’s original cast: The eccentric but kindly and shrewd doctor, his snarky but supportive son the policeman, the ‘sassy’ secretary (who disappears in season 3), the nebbishy hospital director (who also disappears), the ex-punk-with-a-twerpy-attitude doctor (who gets replaced in the 3rd season and the wealthy/mildly stuck-up/often there just to scream female coroner (who only briefly leaves the show).

Story: A doctor solves mysteries with the help of his son (a policeman) and usually two other doctors, a female coroner and a male surgeon/intern.

Review: This was one of my favorite shows when I was a kid. In bumbling around on the IMDB recently, I found out that the protagonist Mark Sloan seems to have been invented for an episode of Jake and the Fat Man called “It Never Entered My Mind” first. It’s a fairly good episode, but they did make some major changes when it spun off (viz., he didn’t have kids, worked at a different hospital, it’s much more light-hearted, and his helpers were med students – a rich boy, a girl, and an African American guy that all appear to have been condensed into two characters for the series). Anyways, Diagnosis Murder is one of the better cheesy mystery shows that sprang up by the dozens around that time. Many of the episodes feature old TV and vaudeville performers doing variations on their old bits (e.g., comedy, song and dance), and leads from 60s/70s crime shows (like Mannix) reprising or lampooning their roles. The show often features Van Dyke’s relatives in guest roles.

They swapped helpers a couple of times, and his son’s hair got dyed blond eventually, but the show was consistently good and fairly silly for at least the first three or so seasons. After that, it started taking itself a bit to seriously. The episodes that introduced a previously non-existent daughter (played by Van Dyke’s actual daughter) as an abused wife who’s finally brutally murdered – A Town Without Pity and Murder in the Family (who does that to their own kid’s character on their show? Yick!) – and a sprinkling of others are really awful. But most of the show is pretty good. Actually, it’s all good (albeit cheeztastic) before it started getting kinda dark at the start of season 3, but there are still some good ones after that.

Recommended for: Fans of corny/cheesy mystery shows from the 70s/80s, people who like non-gory crime shows.

Content Notes: (PG) – There’s a bit of swearing, but I never noticed it when I was younger. Even the most horrific crimes are so verbally danced around that no kid will be accidentally subjected to hearing about them by watching this show – until the third season, then it gets a tad iffy.

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Is There a Stereotype for TV Medical Examiners?

A little while ago, I just happened to find myself watching a few episodes of various shows about people who examine the dead and solve crimes; namely Quincy M.E, Crossing Jordan, Dexter, and Bones. In doing so, however, I noticed that these shows have certain odd commonalities. They all revolve around characters who are Irish, have bad tempers, are quite obsessive, and have deep traumas stemming from the deaths of loved ones (Quincy’s wife; Jordan, Bones, and Dexter’s mothers).

Now, admittedly, there are some technical differences in the specifics for these characters. Quincy, a coroner/medical examiner, often gets involved with political/social injustices instead of just murders – which makes things more interesting, if you ask me. Jordan is also a medical examiner, but becomes sort of a would-be policewoman as the partner of her scrawny, effeminate kinda-boyfriend. Dexter is a blood spatter analyst who kills serial killers (until he goes kinda nuts in later seasons and kills all sorts o’ people). Bones, although not nearly so obsessed about her mother as Jordan, is a forensic anthropologist who becomes sort of a would-be policewoman as the partner of an FBI guy. She also takes some minor political stances in arguments with her partner, but rarely acts on them – and almost always contradicts them in later episodes.

Nonetheless, why the similarities? One could suppose that the aforementioned commonalities are based upon long-standing law enforcement stereotypes. The image of Irish law enforcement personnel in the U.S. has been around for over a century. By the late 1800s, it became rather common for immigrant Irish-Americans to become policemen. Although this is no longer the case, the stereotype lives on. Other cultural assumptions about Irish Americans, whether accurate or not (whether insulting or not), include the idea that they have bad tempers (probably related to the whole drunkard stereotype), that they hold grudges to an obsessive degree (although all cultures historically have feuds, vendettas, etc.), that they’re overly matricentric, and that they are heavily weighed down by Catholic guilt – despite being quite the party animals when they cut loose (also associated with the drunkard stereotype). Since these images/assumptions have been in movies and television from their inception, one could posit that they’re seen as ‘natural’ formulas upon which to fall back by TV producers/writers.

It’s not really such a bad thing for a people to be thought of as harbingers of justice and social protection, and these shows usually aren’t terribly offensive about it (except for Crossing Jordan, which was consistently offensive to the Irish). And I suppose that, theoretically, it could just be a coincidence that these factors seem to appear in throughout television – but I really doubt that it is.

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1000 Hits!

Sometime last week, the Fluffy Pink Cineaste blog surpassed the 1000 hit marker. From the search engine terms used to find my posts, I’m guessing that the majority of the readers are students doing frantic research for essays, but a hit is a hit – and the URL is a .info after all. If any of you readers out there want to suggest possible improvements you’d like to see, feel free to comment.

-FPC

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