Pirate Radio (2009)

Pirate Radio's trailer would like to deceive you into thinking that it's about a ragtag crew of radio rockers and The Man (Kenneth Branagh, having the most fun I've possibly ever seen him have) trying to bring them down. It is about that, don't worry, but what the trailer fails to inform you is that it's also about Carl (Tom Sturridge), an adorable little moppet who gets kicked out of school, so his mom (Emma Thompson, briefly and fantastically) sends him to his godfather (Bill Nighy, at his most charismatic when he's at his most languid), who just so happens to own and operate a pirate radio ship. So in addition to pirate radio shenanigans, there's also coming of age drama. It's kept to a minimum, and, like I said, Carl's an adorable moppet.

Writer-director Richard Curtis, who was also responsible for the adorable moppet and ragtag crew of Love Actually*, has a knack for gathering delightful British comedians (and one notable American) and letting them have at it. It's a good thing, too, as there's otherwise nothing striking in his direction or his script.

The notable American is, of course, Philip Seymour Hoffman. The Count is very similar to what I like to imagine Hoffman is like in real life (there are also similarities to his character in Almost Famous), and he's also responsible for the movie's only real emotional moment.

Pirate Radio the kind of movie that's exceedingly pleasant to watch, the kind that you put on when you're bored or in need of a little cheering up. There are worse things to be. C+

*I constantly want to put a comma between those words. What is that?

The Twilight Saga: New Moon (2009)

My Book vs. Film is already out, so maybe you want to start there and work back. I don't know. It's downright exhaustive, so I'm not going to get into the strength of the adaptation here. Let's focus on the movie as a movie.

I've got a complicated relationship with composer Alexandre Desplat, but let me tell you this much: he damn near ruined the movie for me. A lot of my other complaints about this movie are very much based in a comparison with Hardwicke's Twilight, which is just too bad for New Moon director Chris Weitz, but I am certain I would have found this score egregiously overwritten at every turn no matter what. He actually dings! when someone is supposed to have a moment of recognition. For all I know, there were dun-dun-duns, but I was probably working overtime to block it out. It's the most obvious and attention seeking score I have heard in years.

In talking it over with my viewing partner, she noted that there is a time and a place for a full orchestra, and New Moon is not it. Truer words, people. I liked Carter Burwell's work well enough last time around (okay, I do feel that the conspicuously-absent-from-New-Moon lullaby was not quite right), but I never realized before how his electric guitar and tribal drum driven work was modern, sexy, dangerous, and cool. Exactly what the score for our teen vampires and werewolves in love should be.

Regardless of the DP, director, or composer, these movies are bound to rake in a ton of coin. But does that mean that aesthetic concerns don't matter? Of course not! While cinematographer Javier Aguirresarobe does lovely work in the lush coastal rain forests of Vancouver, he's sort of at a loss when people are in the frame. Aguirresarobe and Weitz make sure that Edward (Robert Pattinson)'s first real appearance is held long enough for fangirls to get in a good squee (there is a fan involved, I'm pretty sure), but they lose it shortly thereafter. To wit:

1. Carlisle (Peter Facinelli) sows up Bella (Kristen Stewart)'s arm in candlelight while pulling her close and listening to opera. Wait, who is she supposed to be dating? Because I just thought, "Kiss! Kiss!"


2. A tilt to suggest Bella is thrown by Edward breaking up with her? Is this Doubt?


3. The camera pushes in on her lying down in the woods, and I thought, "Why wouldn't the camer pull out to show how alone and vulnerable she is?"
   
   
4. Bella tosses Jacob a slice of pizza during a fixing-up-our-bikes montage, and he catches a socket wrench (montage!). Not only does the wrench catch look completely fake, but it comes in from a completely different height and angle than the pizza through to what looks like a different area of the garage. Intentionally funny?*
   

It's like they're not sure what story they want to tell. Hardwicke clearly wanted to tell a story called, "The Cullens are cool, and now you want to join their cult, too." If Weitz's angle was supposed to be, "The wolves are cool, and now you want to join their cult, too," he really didn't hit the mark.

Don't get me wrong; the wolves are pretty cool. You're not going to get a lot of arguments from me against good looking guys with their shirts off, and New Moon has those aplenty. They're also a lot less openly hostile toward Bella in the movie than they are in the book, which I appreciated. Taylor Lautner's baby-face doesn't quite match the 25-year-old man Jacob is meant to morph into, but he's got Jacob's tenderness, heartbreak, and barely suppressed rage down pat. It will certainly be interesting to see what he does with Eclipse and Breaking Dawn. Plus, unlike others, aging will work in his favour.

Others being Pattinson, of course. Not that he looks markedly older to me, but there's something in his aspect this time around that's less boy and more man. I already thought he was perfectly cast as Edward, and he certainly brings exactly what's necessary to the role, cutting through Stephenie Meyer's florid prose to the human underneath. Yes, human. While Edward's beyond obsessed about his status as a vampire, Pattinson manages to play him in such a way where you can see how, for Bella, that would be just one thing about him but not the main thing. There's a man there. That said, this change I see makes the decision to rush through production slightly more reasonable.

Stewart's also doing some more lovely work (I was especially cheered by the face she makes right after she makes a pointed remark. It's a great "Get it?" face), though not all her choices work out that well. Even so, I see her growing into the character as well as making Bella grow up with her. It's the kind of thing that just might be worth study over time.

All the usual suspects are back, and they're just as great and underused as they were before (although what is up with Jasper's hair? Why can they not make it work?), and, though Fanning might try to steal the show as Jane, it's all about Michael Sheen as Aro when it comes to supporting players because it is fantastic to watch him pull a dude's head off and then gleefully cheer happy endings a few scenes later. I always liked Aro, but I just might love him now. I can only guess what's in store for Sheen now after playing a werewolf and a vampire. Frankenstein's monster? Dr. Frankenstein? Zombie? Angel? Demon? The sky's the limit!

Limited, I hope, will be Weitz's involvement in any future installments of this series. He and his team just aren't a good fit. Harwicke gets teenagers better than most directors (she's like John Hughes that way), and Weitz just doesn't seem to have the same respect/understanding of the source material. I mean, it's the same screenwriter (Melissa Rosenberg) either way, so it's hard to place the blame/credit there. Overall, the experience is satisfactory but nothing more than that. C+

*Point number four was added on the 24th after I remembered it.

Pop Culture Round Up: September 26 - November 20

Van Gogh's personal letters debut online in English

Stars + time + box office = franchise hit

Forget Rule No. 1 - Still Talking About ‘Fight Club’

Technology increases chances to see porn in public

New Brain Cells May Knock Out Old Memories

You want fries with that rap?

Mistakes in Typography Grate the Purists

Overdue library books returned half century later

Screen Memories

Was a WWII Classic Too Gay?

Scientists nose out clue to preserving books: their smell

Contact lenses to get built-in virtual graphics

Women living in 'Twilight' will not apologize for loving Edward, Bella and Jacob

Noises off: The rules of being a theatre critic | Stage | guardian.co.uk

Bare Breasts Don't Translate into Big Box Office

Spoiling for a fight

Stars lined up for new audio Bible

Montreal to see terracotta warriors

Hollywood's 10 Most Overpaid Stars - Hollywood's 10 Most Overpaid Stars

Artist Jeanne-Claude dies; co-created 'The Gates'

Taylor Lautner Denies That He Suffers From Restless Leg Syndrome

"People don't realize this, but loneliness is underrated."

The only reason Joseph Gordon-Levitt, who uttered that line, doesn't appear on my Underrated List is time. If I had more time, each letter would have multiple entries. Even so, my A to Z guide to everything in movies you've been missing should have enough to pique your interest.

This Is It (2009)

I was one of those that were mildly disgusted when news broke of the plan to release This Is It, rehearsal footage from the London concert prep meant for Michael Jackson alone. Then Dana Stevens admitted to weeping, and I wondered if maybe there was something I had missed. For years now, every time a new scandal or court case hit the news, I wondered why people were still interested in what Jackson was doing. Now that I've seen the movie, though, I understand.

While Jackson (or MJ, as those on the set refer to him) had a director, vocal coach, and choreographer, it's obvious that he is all those things on stage. The precision with which he moves his body at 50 (far finer than mine at 26 or any age, no doubt) is astonishing. By "Smooth Criminal," the fourth or so song in set list, I had a huge grin on my face and had to warn myself not to get too emotional. MJ describes the jazzy behind the beat take on the opening to "The Way You Make Me Feel"* to his piano player "like you're dragging yourself out of bed."

He never quite belts it out the way you wish he would and know he can (saving his voice for the performance that will never be), and there are a couple of diva moments scattered in there. But the respect with which he treats his company and the awe they show him in response are palpable. When he says it's "for the fans," you actually believe him. It's clear the man was more performance than person. For the fans was all he had to give.

By now we know what happened and seeing how dangerously thin MJ was on stage gives you pause, but This Is It still contains lovingly captured footage of an artist we'll never see again. B

Also, I don't mean to jump the gun or anything, but Orianthi and I are in love.

*Personal favourite.

Cairo Time (2009)

Patricia Clarkson has a way of opening up a character to you. With her voice and the way she moves her body, she suggests a life far beyond what a script can give you. Where other actors develop ticks so distracting they're ultimately pointless, Clarkson is elegant.

Good thing, too, because aside from the performances and the stunningly captured setting, there's little to distinguish Cairo Time. There's nothing extraordinary about a woman on vacation who finds herself drawn to the local (Alexander Siddig) acting as her guide. Clarkson and Siddig are restrained and beautiful in their roles, and Luc Montpellier's cinematography makes the most of Cairo's bustle and haunting surrounding dessert.

Though the main actors do their best, the movie is too sedate. It's the the kind of movie that you leave on low volume in the background while you work at home, providing a welcome rest for your eyes when you look up. C