Don't Have A Cow, Man...
I thought this was a very funny joke, but googling "Judd Apatow", "Mark Brazill" and "emails" gets you a whole slew of articles about how they're *real* emails full of real, insane venom between two people who might once have been friends. This is what happens when people are passive agressive, methinks.
Tuesday, July 31, 2007
reruns #1
An article on social networking that I find fascinating: A Group Is Its Own Enemy
It looks at social interaction online and the software that supports these kinds of interactions; but more than that, it delves into the fact that the way people relate and interact online forms both the bonds that grow a group and also tends to lead to the groups' own destruction at the same time, because of the mistaken assumptions made about how technology will/can/should change the way people behave.
It looks at social interaction online and the software that supports these kinds of interactions; but more than that, it delves into the fact that the way people relate and interact online forms both the bonds that grow a group and also tends to lead to the groups' own destruction at the same time, because of the mistaken assumptions made about how technology will/can/should change the way people behave.
Wednesday, July 25, 2007
Harry Potter and the Order of the Phoenix (2007, d. David Yates)
This adaptation of the fifth book in the series is a decent addition to the Harry Potter film franchise, sitting somewhere between the best so far (Cuaron's Prisoner of Azkaban) and the terribly earnest and plodding Chris Columbus' pictures at the start. Considering the massive length of the original book, great effort has been made to prune the storyline to a manageable movie run time, and the abbreviated plot in addition to the choppy editing gives it an uneven episodic feel, a chain of scenes without enough connection between, and causing some scenes to drag as they lacked the necessary urgency and drive towards the next. The setting is beautifully filmed, as always - Hogwarts portrayed amongst misty moors and plunging ravines in different climes - but Yates resorts, a few too many times I feel, to ending scenes with swooping shots from the ensuing action to the scenery without giving any meaning to either.
The most problematic sections are the beginning and the end, where the action deviates greatly from the book, mostly to the detriment of logic and continuity. They are particularly glaring and frustrating in the climax, where the important theme of love is hammered home to the audience by having Harry declare it in a ridiculous speech expressing his internal struggle against Voldemort's possession, which broke the dramatic tension! Overall, I didn’t like the final battle at all; in the book, these scenes demonstrate one of the best written fight/climaxes of the whole series, with the utter chaos and power on show from both the adults and the children, but the movie chooses to focus solely on Harry's struggle and it lessened the traumatic impact, the pain and darkness, of the ending.
In contrast, the DA scenes during the movie were wonderful, as they show how Harry had grown as a person at this point – both in magical skill and also in his understanding of the seriousness of the situation - and visually it managed to be both informative about the other students and their skills in fighting, which is important considering what parts they play in later books, as well as being playful. The same comfortable chemistry was encouragingly present in the scenes between the core trio of Harry, Hermione and Ron. However, the children's acting seemed to be improving imperceptibly - Rupert Grint continues to mug/mope for the camera giving Ron a perpetual infantile two-dimensional feel; Dan Radcliffe, well, yikes, learn a new expression!; and in stark contrast, Emma Watson tries so hard to emote with her face that her eyebrows are now almost a separate character.
The most problematic sections are the beginning and the end, where the action deviates greatly from the book, mostly to the detriment of logic and continuity. They are particularly glaring and frustrating in the climax, where the important theme of love is hammered home to the audience by having Harry declare it in a ridiculous speech expressing his internal struggle against Voldemort's possession, which broke the dramatic tension! Overall, I didn’t like the final battle at all; in the book, these scenes demonstrate one of the best written fight/climaxes of the whole series, with the utter chaos and power on show from both the adults and the children, but the movie chooses to focus solely on Harry's struggle and it lessened the traumatic impact, the pain and darkness, of the ending.
In contrast, the DA scenes during the movie were wonderful, as they show how Harry had grown as a person at this point – both in magical skill and also in his understanding of the seriousness of the situation - and visually it managed to be both informative about the other students and their skills in fighting, which is important considering what parts they play in later books, as well as being playful. The same comfortable chemistry was encouragingly present in the scenes between the core trio of Harry, Hermione and Ron. However, the children's acting seemed to be improving imperceptibly - Rupert Grint continues to mug/mope for the camera giving Ron a perpetual infantile two-dimensional feel; Dan Radcliffe, well, yikes, learn a new expression!; and in stark contrast, Emma Watson tries so hard to emote with her face that her eyebrows are now almost a separate character.
Friday, July 6, 2007
Blades of Glory / Transformers
Blades of Glory (2007, d. Will Speck, Josh Gordon)
As any iceskating fan knows, deep in their heart, it is a sport ripe for mocking. Some parts of the movie were just so spot on in its ridiculousness (the costumes! the over-the-top commentary!) though as a satire it needed to be sharper and more critical. It works quite well just as a visually amusing and irreverant comedy it works quite well. The absurdist humour is hilarious, a great example being the ice-skate chase towards the climax, though it also serves to highlight the strength and weaknesses of the cast and the script. Will Ferrell (as Chazz Michael Michaels) does a great job as the annoyingly arrogant skater-jock; as his nemesis-turned-partner, Jon Heder (as Jimmy the effeminate epitome of male ice-skater) unfortunately doesn't manage to project much apart from a shaggy goodnatured bemusement. Will Arnett and Amy Poehler do their best as psuedo-incestuous skating rivals, and considering their comedic pedigree, could have been given more to do, particularly as they made the most of their brief scenes. Jenna Fischer was sweet and efficient, but about as memorable as her counterpart in her role as the object of Jimmy's affection.
Transformers (2007; d. Michael Bay)
This was highly enjoyable; early expectations were only to be entertained by something flashy and dumb and noisy, and yes it was all that, but somehow managed to be more.
The first attack at the beginning sets the tone so well - an awesome set-up of action and explosions, tense and gloriously tummy-crunching as the badass Decepticon proceeds to destroy a desert army base - and the energy rarely flags after this. The special effects in this were amazing - the transformations are complex but not clunky, visually interesting but not unbelievable.
More suprisingly, the screenplay, while maintaining broad appeal with that brand of action-movie cheesiness at times, is never risible, blending fanboy-pleasing references to the original and a wise-cracking sense of humour, helped along by Shia LeBeouf's great knack of playing fast-talking, adorably neurotic teens. The romantic subplot is not intrusively irksome, even if it does feel terribly convenient that Megan Fox's character is the complete package - hot, bitchy, scantily-clad AND mechanically minded - though it was refreshing enough that she played a major active role in the finale. The most disturbing aspect of their relationship was **spoiler** when Sam and Mikaela were making out on top of Bumblebee at the end....THE CAR IS SENTIENT.
As any iceskating fan knows, deep in their heart, it is a sport ripe for mocking. Some parts of the movie were just so spot on in its ridiculousness (the costumes! the over-the-top commentary!) though as a satire it needed to be sharper and more critical. It works quite well just as a visually amusing and irreverant comedy it works quite well. The absurdist humour is hilarious, a great example being the ice-skate chase towards the climax, though it also serves to highlight the strength and weaknesses of the cast and the script. Will Ferrell (as Chazz Michael Michaels) does a great job as the annoyingly arrogant skater-jock; as his nemesis-turned-partner, Jon Heder (as Jimmy the effeminate epitome of male ice-skater) unfortunately doesn't manage to project much apart from a shaggy goodnatured bemusement. Will Arnett and Amy Poehler do their best as psuedo-incestuous skating rivals, and considering their comedic pedigree, could have been given more to do, particularly as they made the most of their brief scenes. Jenna Fischer was sweet and efficient, but about as memorable as her counterpart in her role as the object of Jimmy's affection.
Transformers (2007; d. Michael Bay)
This was highly enjoyable; early expectations were only to be entertained by something flashy and dumb and noisy, and yes it was all that, but somehow managed to be more.
The first attack at the beginning sets the tone so well - an awesome set-up of action and explosions, tense and gloriously tummy-crunching as the badass Decepticon proceeds to destroy a desert army base - and the energy rarely flags after this. The special effects in this were amazing - the transformations are complex but not clunky, visually interesting but not unbelievable.
More suprisingly, the screenplay, while maintaining broad appeal with that brand of action-movie cheesiness at times, is never risible, blending fanboy-pleasing references to the original and a wise-cracking sense of humour, helped along by Shia LeBeouf's great knack of playing fast-talking, adorably neurotic teens. The romantic subplot is not intrusively irksome, even if it does feel terribly convenient that Megan Fox's character is the complete package - hot, bitchy, scantily-clad AND mechanically minded - though it was refreshing enough that she played a major active role in the finale. The most disturbing aspect of their relationship was **spoiler** when Sam and Mikaela were making out on top of Bumblebee at the end....THE CAR IS SENTIENT.
Saturday, June 16, 2007
Dappled Cities Fly / Red Riders - 15 Jun 2007 - The Metro
Last time I saw support act Belles Will Ring, supporting Death Cab for Cutie that time, they were a four piece, and not particularly memorable in a generic rock way. This time around, they were now a five member band, and they'd picked up a 60s folk-rock influence. Some of the songs from their album Mood Patterns are quite catchy – I particularly liked 'Park Benches', which is the point where their set picked up for me, 'Midnight' and 'The Coldest Heart'.
After Belles Will Ring, both Red Riders and Dappled Cities came out on stage and did a coin toss to determine who would play first on the double bill. To my relief, Dappled won the toss and elected to go first. After hearing Dappled briefly at Modest Mouse and wanting more, I'd come to really enjoy their sound. They didn't disappoint, with a good tight set; the band gelled together really well, and they seemed to be really enjoy playing, and the crowd’s response. I admit I tuned out a touch during the middle of the set with more material from A Smile but there were lots of great moments from second album Granddance. 'Work It Out' was slowed down, which threw me a bit at first, but still sounded great, and 'Holy Chord' was really beautiful live, with the crowd singing along enthusiastically.
Not a set list, but we definitely heard: Granddance, Peach, Vision Bell, Within Hours, Beach, Work It Out, Fire Fire Fire, Holy Chord and Colour Coding.
We ended up only staying for the first 3 songs of the Red Riders set, which included their hit 'What They Say About Us'. They struck me as being quite young, not really polished on stage yet, but they had a real energy to them that was fun. The crowd on the floor was really into them. They reminded me a bit of The Strokes, a bit of Franz Ferdinand.
After Belles Will Ring, both Red Riders and Dappled Cities came out on stage and did a coin toss to determine who would play first on the double bill. To my relief, Dappled won the toss and elected to go first. After hearing Dappled briefly at Modest Mouse and wanting more, I'd come to really enjoy their sound. They didn't disappoint, with a good tight set; the band gelled together really well, and they seemed to be really enjoy playing, and the crowd’s response. I admit I tuned out a touch during the middle of the set with more material from A Smile but there were lots of great moments from second album Granddance. 'Work It Out' was slowed down, which threw me a bit at first, but still sounded great, and 'Holy Chord' was really beautiful live, with the crowd singing along enthusiastically.
Not a set list, but we definitely heard: Granddance, Peach, Vision Bell, Within Hours, Beach, Work It Out, Fire Fire Fire, Holy Chord and Colour Coding.
We ended up only staying for the first 3 songs of the Red Riders set, which included their hit 'What They Say About Us'. They struck me as being quite young, not really polished on stage yet, but they had a real energy to them that was fun. The crowd on the floor was really into them. They reminded me a bit of The Strokes, a bit of Franz Ferdinand.
Sunday, June 10, 2007
Brand New - 9 Jun 2007 - UNSW Roundhouse
Some time at the end of last year, I heard two tracks from Brand New's latest album The Devil and God Are Raging Inside Me and fell in love with the brooding music and the really interesting, intensely emotional lyrics. I could not wait to see them live. Since we weren't interested in the support, and the weather was terrible, so we rocked up about 10 minutes before they were due on. Despite muddy sound the concert was good. There were times it was clearly evident that Jesse Lacey's voice was really strong and capable, so I think that was more a problem with the acoustics of the room than the band, or someone at the sound desk needed to pick up their game.
The band were able to create this massive wall of sound that I could feel all around me. They played around with the songs, with interesting arrangements and variations from the album sound (eg. slowed down first verse of 'Jude Law...'), which worked mostly, though sometimes it threw the crowds' attempts to sing along. There were lots of Jesse Lacey acoustic guitar moments; 'Play Crack the Sky' being played as sparsely as it is on the album at the start, great calm-before-the-storm moments before the song goes crazy and beautiful and LOUD. Jesse Lacey's voice was...I don't know how to describe it, apart from feeling like he was breaking down in front of us and everything he felt was carried in the burden of his voice and words. It wasn't perfect, but it cracked with emotion and it made me believe that he was really passionate about what he was singing, and that was awesome.
They started with songs from the previous two albums, which was great, but a bit confusing – I kept waiting for them to throw the new stuff in, but it didn’t come for the first hour! They went offstage for a brief period after 'Play Crack the Sky', and when they came back on they played almost all of the The Devil and God... which is so so awesome. The Green Day cover was unexpected – Jesse was just strumming as they were prone to do during the numbers, and then it suddenly became recognisable and a part of the crowd started singing along happily. He only played a bit, then he stopped just as the drummer started to pick it up, and laughed and said, “Oh, Brian really wants to do this”, teasing us, before he said, “But no, no happy songs, we’re here to play sad bastard music".
Jaws Theme Swimming
Sic Transit Gloria...Glory Fades
Me vs. Maradona vs. Elvis
The Shower Scene
The No Seatbelt Song
The Boy Who Blocked His Own Shot
Okay I Believe You But My Tommy Gun Don't
Jude Law and a Semester Abroad
Seventy Times 7
Play Crack the Sky
Welcome to Bangkok
Sowing Season (Yeah)
Millstone
The Archers Bows Have Broken
Luca
(short cover of Basket Case)
Limousine (MS Rebridge)
Handcuffs
Jesus
Degausser
You Won’t Know
The band were able to create this massive wall of sound that I could feel all around me. They played around with the songs, with interesting arrangements and variations from the album sound (eg. slowed down first verse of 'Jude Law...'), which worked mostly, though sometimes it threw the crowds' attempts to sing along. There were lots of Jesse Lacey acoustic guitar moments; 'Play Crack the Sky' being played as sparsely as it is on the album at the start, great calm-before-the-storm moments before the song goes crazy and beautiful and LOUD. Jesse Lacey's voice was...I don't know how to describe it, apart from feeling like he was breaking down in front of us and everything he felt was carried in the burden of his voice and words. It wasn't perfect, but it cracked with emotion and it made me believe that he was really passionate about what he was singing, and that was awesome.
They started with songs from the previous two albums, which was great, but a bit confusing – I kept waiting for them to throw the new stuff in, but it didn’t come for the first hour! They went offstage for a brief period after 'Play Crack the Sky', and when they came back on they played almost all of the The Devil and God... which is so so awesome. The Green Day cover was unexpected – Jesse was just strumming as they were prone to do during the numbers, and then it suddenly became recognisable and a part of the crowd started singing along happily. He only played a bit, then he stopped just as the drummer started to pick it up, and laughed and said, “Oh, Brian really wants to do this”, teasing us, before he said, “But no, no happy songs, we’re here to play sad bastard music".
Jaws Theme Swimming
Sic Transit Gloria...Glory Fades
Me vs. Maradona vs. Elvis
The Shower Scene
The No Seatbelt Song
The Boy Who Blocked His Own Shot
Okay I Believe You But My Tommy Gun Don't
Jude Law and a Semester Abroad
Seventy Times 7
Play Crack the Sky
Welcome to Bangkok
Sowing Season (Yeah)
Millstone
The Archers Bows Have Broken
Luca
(short cover of Basket Case)
Limousine (MS Rebridge)
Handcuffs
Jesus
Degausser
You Won’t Know
Wednesday, May 30, 2007
The Science of Sleep (2007; d. Michel Gondry)
This was as beautiful and creatively wonderful as I'd read, as well as being quirkily funny, and much more coherent than some reviews had led me to believe. I believed the awkward romance between Stephane (Gael Garcia-Bernal) and Stephanie (Charlotte Gainsborough) - the way it didn't flow smoothly in that Hollywoodised way, but had this stop-start motion to it. They progressed because they really were kindred souls in their creative minds and expression, but also it was impeded by the self-same obsessive infantilism in Stephane that left him about as emotionally mature as a four year old. The ending though, its bittersweet ambiguity, was perfect for the movie and my expectations of how their love was shown throughout the movie.
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