4.17.2012

COSMIC ENCOUNTER: COSMIC ALLIANCE

The wonderful boardgame Cosmic Encounter allows for shared victories -- but now players can join together in teams with the new expansion Cosmic Alliance. And if this isn't enough (and for me, it isn't), there's also a new color (allowing for another player) and a collection of new aliens -- some of which aren't that new.

Normally in Cosmic Encounter, players who ally when attacking both get to go on the target planet if they win; and if multiple players get their fifth colony together, they all win! Cosmic Alliance allows players to form teams of two, working together to defend each other and go after their opponents. To me, this ongoing alliance from the outset is unnecessary: Part of the fun of Cosmic Encounter is persuading people to join you (for attacking or defending), and having an automatic ally from start to finish removes that element of the game.

Fortunately, there are 20 new/old aliens with Cosmic Alliance. This expansion introduces aliens from earlier editions of the game (like the Empath) into the current Fantasy Flight Games version -- and tosses in new ones as well. As with the previous expansions, the aliens here work extremely well, whether the paralysing Gorgon (virtually trapping ships on its planets or shared colonies), the scary Relic (which gets a free colony whenever another player draws a new hand of cards -- and gets its own ships out of the Warp when it draws a new hand), or the rules-changing Schizoid (which changes the victory conditions, leaving other players to win by accident or try and figure out what the new victory condition is). None of these are so overpowering that they'll be picked over the other aliens -- but they certainly have the potential to bring victory. There's also a pretty good sense of humor here: the hedonistic Animal has the summary "Throws a Hearty Party;" the Horde (shown below) looks like a marshmallow Peep with a sinister underside; and the Pacifist is once again the victim as it becomes controlled by the Remote.

The new color -- white -- gives more color options for the players. More significantly, when combines with the other expansions it allows for massive eight-player games! If you have the players, this will last a long time -- and be very fun (if long).


Cosmic Alliance is a nice expansion, except (ironically) for the new alliance rules. Even if you ignore them, you'll still have 20 new aliens, the option for an additional player -- and another great expansion for the terrific Cosmic Encounter.


Overall grade: A-
Reviewed by James Lynch

4.15.2012

Lockout (2012)

 Star Wars Has Nothing To Fear
 
I can't begin to describe Luc Besson's Lockout without making
reference to Star Wars.  Not because Lockout deserves to be mentioned
in the same galaxy as that 1977 classic, but to highlight that the
similarities between the two do not make Lockout especially
interesting.
 
Han Solo, I mean, Snow (Guy Pearce) is framed for espionage in 2071
America. He is given a chance to redeem himself if he goes aboard the
Death Star, I mean, maximum security orbital prison to rescue the
princess, I mean, First Daughter of the President of the United
States, Emilie Warnock (the lovely Maggie Grace).
 
As you can imagine, there is little rhyme or reason as to why the
First Daughter was even allowed to enter this space prison, nor why
she did not go with at least a battalion of Marines to guard her.
Yes, the inmates are all kept in stasis while there, but why the
prison warden allowed her to meet with the lunatic Hydell (Joseph
Gilgun) is beyond plausible explanation.  Nor do I care.  The entire
setup of this movie ignores logic at almost every turn.  What follows
is a station crawl as Snow and Emilie try to evade and escape from the
Imperial stormtroopers, I mean, prisoners, hunting for them.
 
Spoiler Alert (and lots of them):  Given the chance to escape, Emilie
refuses to go, allowing her escape pod to leave without her.  Ugh.
The leader of the prisoners (who of course all come out of stasis -
did you have to ask?) is Alex (Vincent Regan) brother of the crazy
Hydell, who assumes command of the prisoners without explanation as to
why they would follow him in particular.  Perhaps it is his cool
beard.
 
Also, the orbital prison is destroyed at the end of the film by an
attack of X-wings, I mean, American space fighters, which shoot a
missile into the center of the station to blow it up.  No, really,
that is what happens!
 
Snow is your typical wisecracking tough guy/special ops/cop type, and
his character shows promise at times.  I could also see him being put
into a sequel that is better than this first installment.  That being
said, he is not very much different from any other tough guy of the
genre, and apart from the heavy Star Wars similarity, the film most
reminds me of Die Hard, with the lone American battling an
international cast of space bad guys. 
 
Lockout is not terrible.   It is not that good either.
 
-Marc 

4.14.2012

THE CABIN IN THE WOODS

When it comes to horror movies, the decrepit cabin in the middle of the woods is the ideal location: The cabin can be spooky, the woods can keep help away and harbor critters, and the building can be a sanctuary or a deathtrap. This has been used in horror (Friday the 13th), horror-based comedy (Tucker and Dale vs. Evil) and a mix of the two (Evil Dead 2: Dead by Dawn). With The Cabin in the Woods, this staple of horror gets a metafictional take, thanks in no small part to producer and co-writer Joss Whedon.

There are two stories happening in The Cabin in the Woods. The first seems to be a fairly typical teenage weekend getaway gone horribly wrong for five college students: innocent Dana (Kristen Connolly), her promiscuous friend Jules (Anna Hutchison), Jules' jock boyfriend Curt (Chris Hemsworth), brainy Holden (Jesse Williams),and stoner Marty (Fran Kranz). They decide to spend the weekend at Curt's cousin's cabin in the middle of nowhere (so far away it has no cell reception or appear on Google maps). And when they explore the creepy basement, someone makes the mistake of reading some Latin phrases from an old diary -- and soon zombies are attacking the teens.


But there's also a business of sorts going on: a high-tech operation is manipulating what's happening to the teens, from monitoring them before they even leave to releasing gasses to affect the teens' behavior and controlling the evnironment (including a Holodeck-like virtual reality border at the edge of the woods). This is a mix of middle management types in dress shirts and ties (the two main ones played by Richard Jenkins and Bradley Whitford), a concerned scientist (Amy Acker) and the uptight new guy (Brian White). These people treat this like just another job, from making in-office bets on what will happen to working to make sure everything proceeds according to plan. They monitor the teenagers constantly, view similar paranormal situations from around the world, and worry about upper management and ancient gods.


While I have to give credit to this movie for trying to create something new with a frequently-used horror situation, The Cabin in the Woods ultimately tries for far too much. The contrasts between the wild, dirty, supernatural woods the teens occupy and the sterile office environment of the folks for whom the teens' torture and murder is business works for a while but gets overused quickly. While the movie plays with the role of the audience as voyeurs to horror by having the events watched by other characters in the movie, pretty soon everything from commerce to Lovecraftian Great Old Ones get tossed into the mix. (Adding in a massive number of horror monsters near the end just feels like massive self-indulgence.) And while there's a reason the teens are cliches of horror, no actors really stand out.


I'm sure there will be plenty of woods housing threatened teens in cabins, but most won't be as ambitious as The Cabin in the Woods. While this movie does have some scares and some nice contrasts, it ultimately proves too deliberately clever for its own good.


Overall grade: C-

Reviewed by James Lynch

4.06.2012

THE CLIENT LIST dvd

After writing about the resurgence of the "hooker with the heart of gold" trend in entertainment, I felt it behooved me to watch The Client List, the Lifetime television movie with this motif that will soon be a Lifetime television series. This movie did nothing to change my opinion that three of the worst words in entertainment are "Lifetime original movie."

The Client List has a setup of financial disaster. Samantha Horton (Jennifer Love Hewitt) and husband Rex (Teddy Sears) seem like a perfect family: She was a beauty pageant winner, he was a college football star, and they live in Texas and have three terrific kids. Unfortunately, Samantha was laid off as a physical therapist, Rex' leg injury keeps him from getting work in construction, and neither of them can find work. One of their daughters needs braces, their son needs $100 to play flag football at school -- and the bank will foreclose on their house in a month.

Fortunately, Samantha gets a job at the Kind Touch Health Spa. Unfortunately, this is a massage parlor where the employees don't have formal training but do provide... full service to their male clients. Samantha is sickened at first by the work, but soon the money is pouring in (as the other employees say, "Beats the hell out of waitressing!") and Samantha is the most popular worker. But the job interferes with the family, drugs enter the picture, the law gets involved, and the titular "client list" refers to a very public release of Samantha's highest-profile clients in exchange for less jail time for prostitution.




The Client List may have been "inspired bya true story" but it's all over the place. Samantha may hate the job, but she loves providing for her family (not to mention the gifts she gets from her appreciative clients). There's good ol' Christian guilt (inspired by the dashboard angel on the car), but there's also self-righteous Christian judgment (and hypocrisy from the Minister who's also a client). The job plays havoc with Samantha's family life -- but that seems to be more from the long hours than the sexual activity. And the movie never fully addresses the fact that the "immoral" work more than pays the bills, while "regular" jobs are both hard to come by and wouldn't cover the middle-class lifestyle.

In terms of stars, The Client List has Jennifer Love Hewitt (who does decently, as the nice mom who happens to find success and money as a prostitute), Cybil Shepherd (as Samantha's sassy mom), and a lot of extras who have little to do. This is a pretty typical television movie, promising scandal and titillation but delivering mediocre performances and situations. I don't how the tv series will continue from the movie's wrap-up, but given the fairly weak movie I wouldn't expect too much.

(And dvd extras don't exist here: All you'll get are a few trailers and the option for subtitles.)

Overall grade: D+
Reviewed by James Lynch

4.01.2012

The Hunger Games (2012)


Lionsgate // PG-13

142 mins

Jennifer Lawrence, Josh Hutcherson, Stanley Tucci, Elizabeth Banks, Donald Sutherland, Lenny Kravitz, Woody Harrelson, and dozens of young actors who get killed midway through the movie


Unappetizing Fare

The Hunger Games is a dystopian film in which young Katniss Everdeen (Jennifer Lawrence) volunteers to take part in the dystopian Hunger Games, wherein twenty-four dystopian youngsters compete to the death for the right, I suppose, to say that he or she won the Hunger Games. It isn't made clear what the great prize is at the end of the homicidal rainbow, or why the oppressed, dystopian people of the dystopian districts of dystopian nation of Panem (of which there are twelve - Katniss hails from the twelfth) should submit to this squalid, dystopian gladiatorial contest for the amusement of the dystopian, decadent Capitol.

All of this is occurring in what is apparently a dystopian future America, in which the outlying districts send resources to Capitol, which is something of a dystopian D.C. crossed with Thunderdome. The dystopian "citizens" of Capitol, if they can be graced with the dignity of such a term, are a wretched bunch (and look as if they have are refugees from pre-revolutionary France dressed in an unholy combination of Hot Topic and 1980's Benetton clothing) cheering and squealing in delight at the dystopian murder games played out for their dystopian entertainment.

That a lot of dystopianism to ingest. Wow, this film is bleak. What am I to make of it? Is it an anti-capitalist critique of modern capitalism for the 99%? A parable for the age of reality television? A love story? It is a mixture of all of those things.

Katniss and her fellow male district "tribute," Peeta Mellark, are sent from their drab, 1930's Depression-style community in District 12 to the bright and shining Capitol to train (in a mere four days) to fight the twenty-two other selectees, as well as, ultimately, each other, in a high-tech outdoor stadium, watched all along by the millions of denizens of this bizarre nation. A nice touch is that real color invades the screen only when Katniss departs her gray district town for Capitol, a nod to Dorothy's wondrous entrance to the Land of Oz, but in this case, something far more sinister.

The youngsters are trained by Haymitch (Woody Harrelson) and their look spruced up by Cinna (Lenny Kravitz), who despite being relatively sympathetic characters, nevertheless do not challenge the basic premise of the Hunger Games, which is that they are revoltingly immoral contests. Perhaps they feel that they can't, that they are powerless to alter the Hunger Games, a blood sport whose only purpose, it seems, is to remind the people of future America not to get uppity and rebel.

I have not read the books. Now, after watching this movie, I don't want to. I can't say that the books are bad, but The Hunger Games did not resonate with me. I found the premise of two dozen kids killing each other for the amusement of the crowd to be disturbing, and I am not squeamish. I could stomach Gladiator very well, but that was a far different film. Also, it is not that The Hunger Games was especially bloody. That element was rather limited. No, the premise of the film is not something that I care for - at all.

There were several times during the course of The Hunger Games that I just wished it would end. It is a very good film, just not one that I enjoyed. That may seem contradictory, but it isn't. I can recognize the quality of the moviemaking. Director Gary Ross has done a fine job and Jennifer Lawrence is a splendid actress. Dystopianism is not for me. I think that in order to really like a science fiction movie or novel, I have to want to "visit" the imaginary world in which it is set. I would like to visit Middle-earth, Narnia, the Federation from Star Trek, or even the Galactic Empire from Star Wars (just for a short spell) but I don't have any desire to visit the depressing, frightful Panem with its sordid Hunger Games.

Marc

Marc blogs on popular culture and whatever else he pleases at Consolidated Pop.

GREEN LANTERN: THE ANIMATED SERIES

With the new "DC Nation" block of DC superhero shows on Cartoon Network, it's no surprise that they needed a new superhero series. The result is Green Lantern: The Animated Series, a fairly routine cgi show about superheroes in space.

The setup for Green Lantern: The Animated Series is pretty simple. In the furthest regions of space, Green Lanterns are being killed. While the Guardians don't want to do anything about it (foreshadowing some sort of dark secret of theirs), maverick hotshot Hal Jordan (Josh Keaton) and gruff tough-guy Kilowog (Kevin Michael Richardson) steal an experimental spacecraft to investigate. What they find: the Red Lantern Corps.


It seems there's a whole 'nother color of Lanterns, and the Red Lanterns' rings are powered by rage -- and Atrocitus (Jonathan Adams), their leader, wants revenge against the Green Lantern Corps. So with Hal and Kilowog's ship conveniently damaged (it can do everything but get them back home), the two Green Lanterns must work alone against the threat of the Red Lanterns. Well, not quite alone: Razer (Jason Spisak) is a Red Lantern who feels guilty about what he's done and joins the good guys; and Ava (Grey DeLisle) is the ship's artificial intelligence that wants to be a Green Lantern -- and builds herself a sexy robotic body.


While Green Lantern: The Animated Series isn't as bad as the recent live-action movie (faint praise indeed), it's also not that impressive. The cgi is adequate but not thrilling, giving us ring-generated constructs and alien species that don't thrill. And with the exception of Razer's conversion, most of the battles end in a draw: the Green Lanterns don't capture the Reds, and the Red Lanterns don't kill the Greens. The series does service to DC fans by skipping over Hal's origins, and the workings of the power rings are left vague: They're no longer vulnerable to yellow, but they need to be recharged whenever the plot dictates it. Green Lantern: The Animated Series is alright: not likely to turn off fans of Hal Jordan, but not likely to excite them either.


Overall grade: C

Reviewed by James Lynch






3.21.2012

UNCHAINED REACTION

Given that the Discovery Channel has many science-based programs, it's no surprise that their new game show Unchained Reaction is based on designing and building giant contraptions. Unfortunately, there's almost nothing else to the show.

Hosted by Adam Savage and Jamie Hyneman (also the hosts of Discovery Channel's Mythbusters), Unchained Reaction has a very simple premise. Two teams of five people (and the teams are folks who have worked together in an area, like engineering or robotics) are given a theme (such as light and heavy, fire and ice, or tools) and identical materials. Each team has five days to build a Rube Goldberg-type contraption that incorporates that theme; in addition, the final device has to have at least ten parts, and each part has to be set in motion by the previous part. The "twists" are that the team has to get the first part of their contraption up for demonstration on the first day, and near the end the teams are given a surprise element that has to be incorporated in their contraption. At the end both contraptions are set in motion judged by Adam, Jamie, and a guest judge; and the winning team gets, well, bragging rights.


Chain Reaction might as well have been named "build something big, weird, and cool." While this supposedly demonstrates how chain reactions work, the teams also use special effects and visual tricks to get the job done. Since we see the designs and machines getting built step by step (as do Adam and Jamie), there's not a lot of surprise what each section will do. While it's fun to watch the final results, I'd be just as happy skipping the first 45 minutes of the show and just seeing the final result. And really: No actual prize?!? I'm amazed that they couldn't come up with something -- a cash prize, a car from a sponsor, a year's worth of electronic parts -- for the winning team.


The only thing Unchained Reaction has over other reality show competitions is that it skips many of the annoying gimmicks other shows use: rivalries and romances between competitors, dramatic pauses right before a commercial, etc. That said, Unchained Reaction is more of a scientific goof than a serious endeavor, a way to build something creative for its own end. And for no prize.


Overall grade: C+

Reviewed by James Lynch

3.20.2012

HOME MOVIE dvd

The kids are far from alright. The 2008 independent film Home Movie is another first-person-perspective movie, this time about the twisted psychological horror of the Poe family between Halloween 2006 and Easter 2007.

The Poes are -- or should be -- the ideal American family. David Poe (Adrian Pasdar) is a Lutheran minister, while his wife Clare (Cady McClain) is a child psychologist. They have a pair of 10-year-old twins, Jack and Emily (real-life siblings Austin and Amber Joy Williams). They've just moved to upstate New York in a somewhat isolated area. And they have a new video camera: Clare wants to use it for work, while David likes using it to good around and make loving, if embarassing, movies of his family.

But something is wrong with Jack and Emily. Very wrong. The two children sleep in the same bed, never speak or respond to their parents, and invented their own language to talk with each other. They also seem to have a fascination with dead animals: first in the woods, and soon their own pets.

At first the parents seem to ignore their kids' behavior, but soon it takes their toll: Clare puts the kids on medicine (and she begins smoking), while David tries exorcising any demons from the house (and he begins drinking). Jack and Emily keep behaving worse and worse. And it's all documented on the video, which keeps rewinding and fast-forwarding...

Home Movie is a film of mixed quality. The acting is pretty good, with the parents being lovable and the kids extremely eerie. There are some nice cinematic touches, from the brightly lit house (with its dark basement) to the extremely disturbing finale.

Unfortunately, Home Movie also stretches plausibility to the breaking point. It's impossible to see even the most in-denial parents ignoring their kids' escalating behavior, nor would a non-preternatural film explain how a pair of 10-year-old kids could get away with so much -- especially when the adults know what the kids have been up to.


Like many horror movies, Home Movie creates scares, but at the expense of common sense. Still, this movie has its share of scares and tensions -- in the setting of the "ideal" American family home.


(The dvd extras are sparse: the theatrical trailer and making-of interviews with the actors (the Williams kids are quite normal, btw) and writer-director Christopher Denham.)


Overall grade: B-

Reviewed by James Lynch

3.17.2012

The Return of the Pro with the Heart of Gold

Perhaps it's a sign of the economic times, or the return of the same fantasy for men and women (for different reasons), but the Lifetime Channel's expanding their movie The Client List into an ongoing series in April is the latest foray of the prostitute with the heart of gold. It's also the latest example of the glamourization of selling sex.

In the original The Client List, Samantha Horton (Jennifer Love Hewitt) is a loving wife and mother. But when she loses her job and her husband gets injured and can't work, it's up to her to prevent foreclosure on their house -- by working at the Kind Touch Health Spa, where the clients expect a lot more than just a massage. (This movie is not loved by licensed massage therapists hoping to shake the reputation that "massage therapy" is a euphemism for prostitution.) The series will continue Samantha's storyline, where the biggest threats aren't STDs, adultery, or sex with strangers, but rather an economy where her family might lose its home, law officials who could arrest her (and cost her her source of income), and the intersection between her life as a wife and mother -- and her life as someone with a client list.

This type of character is hardly new. The film Belle de Jour (1967) featured Catherine Deneuve as a housewife who became a daytime prostitute out of boredom. Julia Roberts really became famous with 1990's Pretty Woman, in which we're led to believe rich, handsome men who pick up call girls on the street give them unlimited shopping and emotional attachments. And Billie Piper followed her beloved role of Rose on Doctor Who with Secret Diary of a Call Girl, in which Belle is a smart, attractive, fully likeable woman balancing her life as a prostitute with her "normal" life and friends.

Without pre-judging the series The Client List, it does seem to be idealizing trading sex for money. In the current issue of Maxim, Jennifer Love Hewitt comments, ""We have a lot of really fun things in the series eye-candy wise for our audience... It's a lingerie-heavy show every episode, for my character in particular. It's not going to be your mother's Lifetime." This may be a step up from the old "woman in danger, and a system that only helps men" formula, it also seems to be sanitizing the world's oldest profession (besides farming).

While I don't have a problem with prostitution per se (as George Carlin beautifully put it, "Selling is legal, fucking is legal, how is selling fucking illegal? Why is it illegal to sell something it's perfectly legal to give away for free?"), it seems like a lot of these shows portray the encounters as with great-looking, basically nice guys instead of potentially dangerous or pretty creepy individuals. (On Secret Diary of a Call Girl Belle did have a system where the she could let her pimp know if a client was trouble at the start -- but how many pimps are really less concerned with money than with keeping their prostitutes in good shape?) And since some of these have the prostitute as a married woman, that adds in the adultery aspect as well: Is providing for the family worth cheating on the husband?

(Incidentally, some shows have madams/female pimps (like Lady Heather, to the left, from C.S.I.) that are always well educated, polite, sophisticated, and concerned first and foremost with the treatment of their women. I suspect that's idealized as well, as I'm not sure sisterhood trumps profit.)

Perhaps the return of this trend is a reflection of the economy, as women who can't find jobs can still provide for their family by selling themselves. (On Secret Diary of a Call Girl Belle didn't have a family; but that show was paired on Showtime with Weeds, about a mother turning to crime (selling pot) to support her family.) Perhaps it's a re-affirmation of the woman who's damn sexy, not just a wife and mother. And perhaps men are happily tuning in just for the "damn sexy" part of the shows -- or the famtasy that the beautiful woman isn't just after their money.

With the current concerns about the economy and controversy over contraception, turning The Client List may be a reflection of concerns -- or sensationalizing the selling of sex. It should prove interesting to see what directions the series takes.

Written by James Lynch

3.11.2012

REGULAR SHOW

There are plenty of anthromorphic animals on cartoons -- but they seldom get into such surreal situations as frequently as they do on Regular Show. This cartoon may look like it's for kids, but its strange, dry sense of humor is more geared for adults.

The main characters are Mordecai (J.G. Quintel), a bluejay, and Rigby (William Saylers), a raccoon. These friends live together and work (or avoid working) as groundskeepers at a park. In their spare time they sit around and play video games, punch each other in the arm, and try to be cool. Rigby also tends to get in trouble, while Mordecai has a crush on Margaret (Janie Haddad Tomkins), a red bird who works as a waitress. Their boss is Benson (Sam Marin), best described as an uptight humanoid gumball machine. Pops (Sam Marin), son of the park owner, is a childlike and happy man with a giant round head who likes Mordecai and Rigby. There's also the short, obnoxious "Muscle Man" (Sam Marin), who hangs out with High-Five Ghost, a floating ghost with a wrist and hand sticking out of his head. And finally there's Skips (Mark Hamill), an immortal ape-like being who can fix anything and skips everywhere he goes.

And I haven't even gotten to the really weird stuff yet.

While most episodes start off fairly normally, things almost always get pretty twisted. Mordecai and Rigby enter a music competition -- and get visited from their future selves (who are rock stars). Mordecai and Rigby's game of "punchies" escalates to martial arts-style epic battles. Rigby's quest to eat a giant in an hour to win a hat that says "It's Eggscellent" winds up with Rigby in a coma, Mordecai performing a training montage of egg eating (to Bonnie Tyler's "Holding out for a Hero"), and a challenge out of Indiana Jones and the Last Crusade. When the characters enter a bowling competition, they wind up battling magicians and Death for their very souls. When Mordecai accidentally butt-dials Margaret, he and Riggy wind up facing the "Keepers of the Voicemail, Guardians of All Messages Throughout History," shown below.And it's not uncommon for characters to die during the episodes, but come back by the end. And Mordecai and Rigby remain slackers, unaffected by all the weirdness and still happy hangin' with each other.

Regular Show is odd -- and oddly appealing. This show is very unpredictable, yet it remains at heart about two friends trying to slack off, have fun, talk in sync, and watch each other's back --even in the midst of insanity and while ragging on each other. The voices are good (I could've sworn Mordecai was voiced by David Wain; my bad), the strange characters are somehow more realistic (the frustrating boss, the happy-but-oblivious guy, the rude co-worker) than those on many other cartoons, and there are plenty of laugh-out-loud moments. So check out Regular Show.

(And the punk unicorns are gone as well. For now...)

Overall grade: B

Reviewed by James Lynch




John Carter


2012
Disney
PG-13
132 minutes
Director: Andrew Stanton
Taylor Kitsch, Lynn Collins, Willem Dafoe, Samantha Morton, and some other people.

I Claim this Cinema for Mars!

I was fourteen when I first read Edgar Rice Burroughs' A Princess of Mars. It was dated science fiction even then, in 1984, and I don't think that it could have been considered proper science fiction even in 1912, when it was first serialized as Under the Moons of Mars in The All-Story. But I was hooked nonetheless. It was more truly science fantasy, in which the tropes of science fiction, such as airships, alien worlds, and ray guns, coexist with swords and sorcery. Everything about A Princess of Mars was thrilling. It was packed with all the things that an adventure should have: stalwart heroes, noble and savage aliens, deadly enemies, lost cities, and beautiful princesses. I was not alone in my fandom - astronomer Carl Sagan also enjoyed A Princess of Mars. No, seriously, you can look it up!

Nonetheless, it took a long time for Burroughs' tales of Barsoom - that's the Martian name for Mars - to make it to the silver screen. Tarzan, another of Burroughs' characters, saw cinematic fame come much more rapidly, but the main character of the Martian tales, brave John Carter, was a purely literary creation for a century. Perhaps it was the sheer strangeness of the milieu, perhaps it was just too difficult before the advent of computer graphics to do justice to the myriad creatures that populate Barsoom, that caused the story to languish for so many decades, unfilmed.

Now the wait is over. Disney has just released John Carter, a science fiction extravaganza aimed at just about everyone. The film's eponymous stalwart hero, John Carter (Taylor Kitsch) is a dejected former Confederate cavalryman with a serious attitude problem. While prospecting for gold in the Arizona Territory, he is sought out by the U.S. Cavalry (the Seventh Cavalry, no less) for his help in fighting the Apaches. He refuses, and is imprisoned, but escapes. While fleeing from the cavalry and running from the Apaches, he hides in a cave. An oddly-dressed man appears, there is a scuffle, and moments later John Carter awakes on Barsoom. It will take him just a little while to figure out that he is not in Arizona Territory anymore. One major clue is the tusked, fifteen-foot tall, four-armed green dude that he meets named Tars Tarkas, the film's noble and savage alien. Tarkas (voiced by Willem Dafoe) is a farsighted and relatively friendly Green Martian chieftain, especially when compared to his nastier Thark tribesmen who shoot their own unhatched eggs for laziness because they take too long to hatch. He befriends John Carter, and eventually allows him to escape from the Thark's tribal encampment.

Once free, Carter makes his way across the face of Barsoom with his loyal kind-of, sort-of dog-like pet named Woola, a compassionate Green Martian woman named Sola (voiced by Samantha Morton), and the lovely, raven-tressed, blue-eyed, pilates-toned Dejah Thoris (Lynn Collins). You see, while Carter wants to get home, Dejah, princess of Helium, wants John Carter to help protect her city from the depredations of the deadly enemy Sab Than (Dominic West), ruler of the ugly, clanking, moving city of Zodanga. Than has been given a superweapon of sorts by the mysterious Therns, who seek to aid him in conquering all of Barsoom. Helium, though populated by valiant warriors such as its jeddak, or king, Tardos Mors (Ciaran Hinds) and general, Kantos Kan (James Purefroy), have no answers to Sab Than's devastating, Thern-provided death ray. So Jeddak Mors decides that it is in the best interest of Helium that his daughter Dejah marry the creepy Sab Than, and so bring peace to Barsoom.

Do you think that there is even a chance that John Carter is going to let that wedding go ahead? Do you think that Tars Tarkas will have nothing to do with helping John Carter knock the stuffing out of the Zodangans and ending their imperial designs on all of Barsoom? Do you think that Helium and Zodanga will resolve their differences peacefully? Do you think that John Carter and Dejah Thoris are not going to get hitched by the end of the movie? If you answered 'yes' to any of these questions, then John Carter is not for you. You also might want to consider getting out of the house once in a while. But for the rest of us, who like thrills with our popcorn, John Carter is tough to beat.

Oh sure, the plot can be flimsy. The motivation of the Therns, led by the evil Matai Shang (Mark Strong), for seeking the unification of Barsoom is never really explained. The Therns seem to exist to manage the ecological collapse of worlds, and then move on. Mars is a dying planet, and the implication is that one day, humans will wreck Earth just as Mars itself has been damaged, and the Therns will then take it over. But why they decide that the immature dolt Sab Than is a good candidate for world ruler is impossible to fathom.

Raise your hand if you really care. No, I didn't think so. John Carter is rollicking fun, and you should not waste too much time trying to make it all hang together in your head. Save that for Downton Abbey. Go see John Carter, and buy popcorn.

Marc

3.04.2012

PROJECT X

Perhaps, as the saying goes, nothing succeeds like excess. And perhaps some teens just want to party and to be popular. But mixing the two doesn't make for a good movie, as shown in Project X, the latest movie shown from a handheld camera point of view.

Teen buddies Thomas (Thomas Mann), Costa (Oliver Cooper), and J.B. (Jonathan Daniel Brown) have always been losers at their Pasadena high school. But with Thomas turning 17 and his parents going away for the weekend, the wannabe gangster Costa has a plan: throw an epic house party to make them all popular and get them all laid! And the mostly-quiet schoolmate Dax (Dax Flame) will record it all. Thomas is nervous about getting in trouble and tries laying down some ground rules: no more than 50 people, no one in the house itself, only people he knows. But Costa's been inviting everyone at school -- plus online postings -- and soon the party has hundreds (thousands?) of people, with lots of booze, sex, drugs, and loud music. Perhaps using two 12-year-olds for security was a bad idea...
While there have been plenty of teen comedies about epic day, from Ferris Bueller's Day Off to Superbad, those movies had something Project X lacks: characters with some sort of appeal and personality. Instead of getting to know and like the stars, this movie revolves mostly around loud party music, lots of t&a (from innumerable shots of women bumping and grinding to the topless pool), and ever-escalating destruction. There's a small subplot about Thomas deciding between his cute longtime friend Kirby (Kirby Bliss Blanton) and the ultra-hot Alexis (Alexis Knapp), but for the most part it's a never-ending amount of Costa's profanity-filled trash talk and getting the perfect party on film -- apparently the same goal of director Nima Nourizadeh

While it's easy to criticize Project X for its irresponsibility (downing pills with beer, wanton destruction), that's forgivable if looked at in the context of creating the ultimate teen fantasy party. What's harder to overlook is that this movie is all surface, content to just make a bitchin' party video instead of a movie where we care at all about the main characters. There are some funny scenes here, but Project X never tries to be more than very immature humor about teens gone wild.


Overall grade: C

Reviewed by James Lynch

3.02.2012

THE ART OF THE KAMA SUTRA

While The Kama Sutra has the reputation of being a manual of sex positions, it's quite more. This ancient tome, arguably one of the oldest guides to dating and love between men and women, is as concerned with relationships as with physical mixing and matching. The Art of the Kama Sutra by Mallanaga Vatsyayana: The New Illustrated Edition of the Classic Indian Guide to Sexual Pleasure is an interesting historical document that still has plenty of relevance today.

The Art of the Kama Sutra is not a visually explicit book. (There are plenty of other "Kama Sutra" versions out there that are little more than collections of positions.) The illustrations here are pieces of ancient Indian art, color photographs of nature and statues, and black-and-white photos of people embracing. The Art of the Kama Sutra begins with a discussion of Dharma (the spiritual), Artha (the worldly/material), and Kama (pleasure), and how all three must be in balance for a harmonious life.

Sexuality is soon covered, often in a scientific way. There are discussions of pairings, based on the sizes (hare, bull, and horse) of the man's lingam and the sizes (deer, mule, and elephant) of the woman's yoni. While there are some positions covered, there are also types of activity (who is more dominant, types of biting and scratching), how each sex should attract the other (men are more aggressive, women play hard to get), the sixty-four arts to be studied, how to get a wife, how to have affairs, how a wife should behave, how she should get on with other wives of her husband, aphrodisiacs and sexual devices, and how courtesans should act to benefit themselves in both love and wealth.

The Art of the Kama Sutra demonstrates that, while some information certainly belongs more in ancient times than today (anyone want to learn fixing stained glass in a floor, or sharing betel leaves to attract a woman?), some truths are universal. Many (most?) of our readers are not in polygamous situations, but the information on courting, the importance (for better and worse) of passion, and how relationships involve a certain degree of planning and subtlety are true today as when this tome was written. The entries are in sutras of a few sentences, and at times the phrasing feels a little stiff: "...as variety is necessary in love, so love is to be produced by means of variety. It is on this account that courtesans, who are well acquainted with various ways and means, become so desirable, for if variety is sought in all the arts and amusements, such as archery and others, how much more should it be sought after in the science of love."

The end of The Art of the Kama Sutra advices, "This work is not intended to be used merely as an instrument for satisfying ou desires," and this translation provides far more than carnal instruction. This book sometimes has parts that doesn't work today, but more often it offers information for men and women that is as relevant today as when it was written.

Overall grade: B
Reviewed by James Lynch

2.29.2012

High Flying Birds – Noel Gallagher

There is one inarguable truth about Noel Gallagher’s debut solo album ‘High Flying Birds.’ It has arrived with a serious point to prove. He is an artist with a luminary career spanning two decades. Much of his work like ‘Wonderwall’ and ‘Stop crying Your Heart Out’ have earned him a seminal place in British pop culture, but this piece of work is very new and very different. For an artist of his stature it is a personal statement which makes his place in the pantheon of pop vulnerable. It is a vocal announcement from a musician who is normally unafraid of speaking his mind. He has a reputation for making the kind of statements which are often reacted to with shock and abhorrence by the media and the general public alike. So standing alone by a record leaves him nowhere to hide if the reaction is not favourable.

A Grower

It is just a well then as piece of work that the album is a solid creation. Sure it is not mind blowing, but it is a cleverly crafted piece of work which blends together different elements from the vast tapestry of successful music he has made in the twenty years prior to its creation. For Gallagher and Oasis fans it is a reassuring piece of work that as an artist he has not departed wildly from the chord structures etched into the soul of his music. There is also something fresh about much of the work. Gallagher will doubtless have invested much thought into the structure of the album. It certainly bears the hallmark of the expressive control which he has always endeavored to assert over anything which sports the Gallagher name.

Anthemic

The anthemic opening track, ‘Everybody’s on the Run,’ is an instant victory. Backed with a 100 piece Abbey road choir this marvellously simple composition would be a befitting end to any major tour date. As the first official song of a solo career it makes an unequivocal statement; this record means business. And the business is going to get into your head and stay there.

The second ‘Dream On’ Noel described a throwaway track. This is a statement that belies the perfectionist at work. If this is the stuff he is discarding then we are in for some decades more of quality. As a lead from the intro this is another song which seeps under your skin. It is lightweight but catchy and infectious and dangerously close to the brilliance of ‘She’s Electric’.

Drawing out the Big Guns

The album then takes a serious step up and the artistic big guns come out with tracks three and four; ‘If I Had a Gun…,' and, ‘The Death of You and Me.’ The levity of the opening gives way to the kind of record which is the signature of Gallagher’s much patented style. This work is complex, thoughtful, and intriguing. Tracks which are many layered and withstand the rewind button until the paint has worn off, and the spring has lost its snap. The work here is illustrative of someone who understands every nook and cranny of the studio and is able to exploit it to devastating effect.

Then just when you thought that it was going to be bit too serious he brings us back to the beginning with another massive anthem, ‘(I Want to Live in a Dream in My) Record Machine,’ which takes the pressure off and gets you on your feet again. The thought and structure of an album like this is a craft in itself. And if timing is everything the arrival of the title track is the epitome of holding something back until the perfect moment. For any lesser artist this would be track one. An interesting dance diversion that proves the old dog can muster a mesmerizing new trick. For any artist starting out this would open the album and disguise any of the insecurities that lay behind. Despite his musical stature Gallagher is not short of insecurities. Yet to find this gem hidden it in the depths of the record shows that none of the old confidence in his own genius has evaporated.

Slight Let Down

The contemplative, Soldier Boys and Jesus Freaks, is the first disappointment on the record and you feel that this may have had the right to have been an EP. It is at the point when we are lead on to the songs which hearken back to the Oasis days; ‘Broken Arrow’ and ‘The Wrong Beach’ that the record loses some of its shine. These tracks are more the sort of ‘throwaway’ songs that you feel Gallagher could churn out standing on his head.

The record finishes as it began. With a big song, ‘Stop the Clocks.’ This is perhaps a statement every 44 year old is entitled to shout out. Certainly Gallagher is, and with this announcement let’s hope time doesn’t stand still before his next visit to the studio.

Overall grade: A
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Naomi Robbins is a freelance writer with over five year's experience. Her work has offered her a huge variety of opportunities from the chance to write promotional leaflets for a company selling
 chaise sectional sofas to more exotic opportunities to travel around the world writing about her experiences.

10 GREAT SONGS: PAULA ABDUL

Long before she was a judge who helped determine the next big singer on American Idol, Paula Abdul actually made music. (It's true!) The budget "10 great song" series collects some (all?) of her hits from the late '80s and early '90s with 10 Great Songs: Paula Abdul.

This compilation is, well, pretty basic. There are six songs from Abdul's 1988 debut album Forever Your Girl and four from the 1991 follow-up Spellbound. (There's nothing here from Abdul's last album, 1995's Head Over Heels.) There are no rarities, remixes, B-sides, lost tracks, or live versions here -- or even the lesser-known songs from the two albums on this collection.

And how do these hits sound over two decades later? About the same as when they were released: pop fluff. The songs here are all about love (except for the relentlessly optimistic "Promise of a New Day"), either about being in love ("Forever Your Girl," "Knocked Out," the strange "Vibeology") or love gone bad (the man-bashing "Cold Hearted," the wondering "Straight Up"). While Paula Abdul isn't a bad singer, her voice is far from exceptional; and the songs are pretty much routine upbeat pop or slower ballads. The songs are mixed up rather than presented in the original albums' release date, but there's no musical or lyrical development between the albums: They all sound like they could have been made at the same time. This may be the best of Paula Abdul -- certainly her most popular -- but the "great" in this compliation's is somewhat ironic.

10 Great Songs: Paula Abdul is a simple, straightforward presentation of Abdul's hits. This collection demonstrates what made Paula Abdul so radio friendly: extremely simple lyrics, a perky voice, and upbeat pop songs mixed with slower ballads. Decades later, it makes some sort of sense that she would help choose the American Idol winner - who's expected to be more popular than necessarily good.

Overall grade: C-
Reviewed by James Lynch