The TV Addict 

On its own, Bruce Springsteen’s song “The Wrestler” is gorgeous with its inherent beautifully sad and melancholic grace, that doesn’t expand so much as achingly bloom from the simplicity of its music and words. Like the best of Bruce, it aches with men no longer struggling with the circumstances of their life, so much as reconciling themselves with the fact that the struggle - and what it leaves them with - has become their very life and being. The sad grace emerges in the fact that - as much as any man can be - they are okay with it, and will take what they can.

Those of who have been fortunate enough to see THE WRESTLER - for which Bruce wrote the original song - then know how the elegant song and the elegiac film become perfect, inseparable, co-dependent companions. When it starts playing at the start of the end credits, all it does so beautifully on its own, just becomes that much more powerful with the context of the film. It hauntingly recalls and encapsulates both memories of the events of the film, as well as its emotions. It represents and enhances the film, serving as a period to pull everything together, which is precisely why come Oscar time, Bruce Springsteen should walk away with another Academy Award.

To hear the song for yourself, check it out here.

Watching the trailer for MY BLOODY VALENTINE 3-D recently, I was moderately intrigued early on thanks to its shamelessly cheesy, old-school bad horror movie indulgence of its gimmicky approach. But then the trailer ended with a promise that “Nothing says date movie like a 3-D ride to hell.”

After a moment of stunned silence, I slowly turned to my friend and said, “Well… now I have to see this movie.”

Seriously…Is it just me, or how can you not want to reward an amazingly ridiculous tagline like that? It may be the best thing I’ve heard since sliced bread. And yes, I am capable of hearing bread.

On the TV Addict:
We revealed our Top 10 TV Shows of 2008 (plus a second and third opinion), posted 10 Bad Ideas that you just know execs are considering and offered up a printable January 2009 schedule so that you don’t miss a minute of your favorite new and returning shows.

On the REEL Addict:
We asked if you have ever seen a movie that was better than its trailer made it seem, reviewed BEDTIME STORIES and THE SPIRIT (so you don’t have to).

Since the conensus on DAY THE EARTH STOOD STILL starring Keanu Reeves is it’s not worth seeing, I recently took that as inspiration to fire up my Blu-Ray player and go back and revisit the original Robert Wise film from 1951, recently released in high defintion (always a good reason to rewatch a movie).

Watching THE DAY THE EARTH STOOLD STILL, aside from being flabbergasted that I somehow managed to completely miss the blatant Jesus parallels last time I saw it, what struck me the most was not only that it holds up, but that it remains relevant. Yes, it certainly falls prey to some of the cheesiness and heavy-handed finger-wagging most science fiction films suffered from in the 1950s and 60s. Still one allows for it, especially since there is an effective genuine humanistic and populist streak that runs throughout the movie that never excessively over-sentimentalizes its anti-war, “can’t we all just get along,” message. Besides, with the recent terrorist attacks on Mumbai, or Israel bombing Gaza, or Russia invading Georgia, how can Klaatu’s warning about man’s warring ways not ring a little true?

With that thought, it had me wondering what other classic “message” films would still hold up and be relevant today? Movies like GENTLEMAN’S AGREEMENT or GUESS WHO’S COMING TO DINNER? certainly had their place in their times, but they certainly feel like antiques now. Then we have movies like DR. STRANGELOVE which still feels like it was made only yesterday.

So, fellow addicts… What classic “message” films do you feel still remain as relevant today as the day they were made?

Unless you’re George Clooney or Scarlet Johansson, chances are at some point or other on New Years’ Eve you’ve found yourself stressing out about that potentially euphoric or calamitous midnight kiss, or - worse - finding your lips depressingly unkissed by the time the clock strike 12:01.

For those of you who ended up sliding from 2008 into 2009 with nary a smooch, there may at least be the satisfying substitute of sharing in the anxiety and the fulfillment of a New Years kiss vicariously through the film (appropriately titled no less) IN SEARCH OF A MIDNIGHT KISS. It may be a small, black & white indie gem in all likelihood you’ve never heard of before, but it’s without a doubt one of the sweetest, most entertaining films I’ve seen this year, and perfect for lovers of BEFORE SUNRISE and BEFORE SUNSET.

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Due to the hectic holiday season, these reviews are somewhat delayed from when the movies actually arrived on DVD. However, that should not deter you from checking them out, especially those of you looking for New Years Eve viewing for either young or old(er).

BURN AFTER READING

Though BURN AFTER READING remains stylistically quintessential Cohen Brothers, as a follow up to NO COUNTRY FOR OLD MEN it’s certainly a sharp turn some might find jarring. That’s all the more the case when you realize it’s little more than an inconsequential manic lark that’s not a legitimate film so much as a showcase of how ridiculous it can make its stellar cast look. If not that, then it’s at least a showcase for how ridiculous and frivolous the Coen Brothers can get.  That’s not to say the film isn’t worth watching. It’s definitely absurdist, anarchic fun that may never amount to anything - which is, admittedly, the point - but should let you have a hell of a fun time watching these losers of varying degrees trying to get ahead in a race that’s been rigged from the start for them to fail. You’ll just finish watching, mutter “Huh,” and get on with your life after. Burn after viewing, if you will.

Overall rating: 3 out of 5 REELs

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Usually these days trailers are a decent barometer for whether a movie is any good or not (maybe that’s because increasingly trailers reveal the entire movie, but that’s a rant for another time). If it looks dumb, it usually is. Sometimes even if it looks great, it disappointingly turns out to be dumb.Every now and then though, a rare film comes along that looks just like a complete, silly waste of time in a trailer, but actually proves to be a great little film when watched. This year that’s happened to me twice.

I thought KUNG FU PANDA looked like it would be infantile, and conventional, and too reliant on Jack Black’s manic humor. Instead, it proved to be one of the most entertaining , fun and heart warming films I’ve seen all year.

The same went for HORTON HEARS A WHO. Dr. Seuss’ adaptations are rarely successful (see the garish Ron Howard GRINCH movie) and this one seemed to be patronizing, unintelligent family film fair. Also, the prospect of a typically unbridled Jim Carrey voicing an animated character (as if the real Carrey weren’t enough of one already) seemed immediately off-putting. Also his history with Dr. Seuss wasn’t exactly encouraging (see the garish Ron Howard GRINCH movie).  

Yet, color me surprised that HORTON HEARS A WHO proved to be not only incredibly loyal to Dr. Seuss (whether it be this specific work, or his particular style), but endearingly all-ages fun, with a shockingly penetrating, positive message. It was, in short, a great little film.

So, now I turn to you folks. Have there been any films that you thought looked horrible in a trailer, but when you actually watched it you ended up loving it?

By Allan Tong of Holy Grails

Renown documentarian Nick Broomfield (Kurt and Courtney, Biggie and Tupac) crosses into drama to recreate the US Marine massacre of the Iraqi town of Haditha. 

On November 19, 2005, Iraqi insurgents planted a roadside bomb that claimed a vehicle full of Marines.  Enraged, their comrades embark on a brutal retaliation by killing 24 innocent men, women and children who were hiding in their homes.  The insurgents videotaped the house-to-house battle and interview one of the few survivors, a nine-year-old girl, who lost her family.  Meanwhile, the soldiers who carried out the slaughter suffer guilt and post-traumatic stress.

Battle for Haditha adopts opposing viewpoints to tell its sad story.  A young couple is making love in the shower when they spot two suspicious men planting a bomb outside their window.  They run to their leader, the Sheik, but it turns out that he is orchestrating the bombing.  On the other side, the Marines, led by Cpl. Ramirez (real-life Marine Elliot Ruiz) swing between boredom and rage as they roam a hostile country.  Altogether, these are volatile elements waiting to explode.

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The potential in the fundamental high concept behind BEDTIME STORIES is rife with creative, magical, family film possibilities. A lowly handyman who tells on-the-fly, more than slightly fantasized auto-biographical stories to his nephew and niece that end up coming true the following day? Everyone loves a good Disney fairy tale, especially when it’s paupers, princes and princesses narratives are catapulted into the present (see ENCHANTED), and especially when it’s done well.

The problem is Adam Sandler is no Amy Adams, and BEDTIME STORIES is no ENCHANTED.

In fact, that is perhaps the root of the problem. BEDTIME STORIES, whether intentionally or not, echoes too closely Disney’s previous effort, and suffers as a result. Even though both films features the stock elements of Disney-fied fairy tales, ENCHANTED treated the subject matter with both complete respect and wink-wink self-deprecation and even a little post-modernism. BEDTIME STORIES buys into the fairy tale archetypes without ever thinking it does, and when it does poke fun at them, it does so with the crass, shallow (Disney-fied) humor of Sandler, not the satirical but loving insight of ENCHANTED.
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By David Eng

Man, this movie reeks.

Frank Miller is apparently some brilliant artist and his works aren’t comics but “graphic novels.”  The first of his film adaptation, SIN CITY, turned out quite well under the direction of Robert Rodriguez, Quentin Tarantino and Frank Miller himself.  Next came 300, which was stylish but repetitive in the hands of Zack Snyder.  Now Frank Miller completes the downward spiral of his adapted work with his own solo writer/director debut.  

Based on the 1940’s comic by Will Eisner, THE SPIRIT features a bland Gabriel Macht as Denny Colt, the slain cop who is reborn as the Spirit.  A flimsy Lone Ranger mask supposedly renders him unrecognizable.  Immune to injury, he fights the equally invulnerable Octopus, played by Samuel L. Jackson at his most over-the-top.  The cast is rounded out by Eva Mendes, Scarlett Johansson and various other ample-bosomed starlets showing off their impressive cleavage (the film’s only saving grace). 

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