a filmblog

Under discussion:

Six Feet Under [TV Series]  (2001)

Terminal City [TV Series]  (2005)

Terminal City is one of the many victims of bad timing. Either that or it is a hastily concocted doppelgänger produced for the sole purpose of replacing a rival networks hit show that was soon coming to an end. Unfortunately from my own perspective, it appears to be the latter. When HBO unleashed Six Feet Under onto the airwaves in 2001 it was an immediate sensation. The morbidly fascinating ensemble drama about a disconnected family reuniting after the death of the patriarch was exciting and new, heartfelt and absurd; every minute of the hourlong was engrossing to a disturbing degree and shows in the five seasons it stayed on primetime cable television. The blending of drama and comedy with a dash of fantasy and the occasional musical number was a revelation for viewers bored with the parade of uninspired dribble that clogged every channel for hours until infomercials were a welcomed distraction. Needless to say, I was a fan of Six Feet Under and miss it dearly. Thusly it was painful to watch the ten episode season of Terminal City. From the eerily appropriated title sequence to the oft used fade to white for dramatic effect: a disturbing sense of deja vu enveloped me as every passing moment of the show seemed ham-handedly ripped from Six Feet Under and executed in a less than skilled manner to showcase the sappy story line being attempted by the shows writing staff. Accusing the show of plagiarizing is difficult when those points of contention could be viewed by some as merely a reflection of the current trends in film and television, however, when entire scenes of awkward dialogue and character development are almost entirely played out in similar fashion, one has to wonder. I will however credit the creators of the show for the apropos title of the show which was all too evident in the last moments of the shows final episode in which the pain and suffering I felt throughout the ten plus hours of the series runtime came to an end.

Under discussion:

The Informers  (2009)

With three of his literary works already translated onto the big screen, it was only a matter of time before another one of Bret Easton Ellis' novels was adapted into a film. The Informers is a collection of short stories following the lives of various glitterati, dealers of flesh and Colombian snow, and the occasional supernatural bloodsucking fiend. These characters were woven throughout the book to emphasize how their disparate lives and disturbing stories weren't all that different. Somehow this easily adaptable collection of wide-ranging stories with incredible mass appeal has been filmed into a chaotic mess of boring cliches, overstuffed homages to the requisite gaudy hairdos and totally tubular lingo, and oft gratuitous nude scenes that convey nothing within the hour and forty minutes it runs. 

Under discussion:

He's Just Not That Into You  (2009)

An Altmanesque romantic comedy for the dwindling subset of Generation X that still identifies with that moniker, He's Just Not That Into You is a rather uncomplicated examination of modern relationships and the havoc that the act of examining them causes the individuals involved. Set against the lovely urban paradise known as Baltimore, the film floats its attention between nine individuals desperately trying to find love and maintain a lasting relationship amid the whirlwind of advice from friends, family, coworkers and overly sentimental consciences. The startling amount of A-list thespians littering the screen surprisingly blend together rather harmoniously: characters are developed and individual story arcs completed without any single one trying to overshadow the other. Obviously the result of a television obsessed society, the later portion of the film falls prey to annoyingly sporadic jumps between the parallel story-lines, however, the film remains true to its focus on relationships and thusly succeeds with its thoughtfully articulated dialogue and insightful ruminations on love.

Under discussion:

Neo Ned  (2005)

Simultaneously wrestled to the ground during fits of rage, Ned (Jeremy Renner) and Rachel's (Gabrielle Union) eyes meet as if by kismet across the floor of the mental institution in which they are both patients. The violent, yet restrained by a childish innocence, Ned is an adamant racist and proudly flourishes the tattooed symbols of his commitment to the Aryan Brotherhood to both his overseers and cellmates while the despondent Rachel believes herself to be the reincarnation of Adolf Hitler. Together they form a surprisingly healthy symbiotic relationship in which the truth behind their need for institutionalization is revealed and their lives are changed forever. Neo Ned is a great low budget dramatic rom-com with an incredible ensemble of memorable characters and a simple, yet fulfilling story.

Under discussion:

My Bloody Valentine 3-D  (2009)

After a comatose mass murderer awakens and begins his rampage anew, an oblivious congregation of hard-partying youth falls prey to the madman's weapon of choice at the site of his first killings. Saved by the local geriatric authorities, the surviving teens remain traumatized from the massacre but attempt to rebuild their wistful lives amid rumors that the killer still roams the labyrinthine caverns of coal. My Bloody Valentine 3-D is a film-by-numbers homage to the original and others of its time; gore laden visuals enhanced tenfold by 3-D add a extraordinary flair and perverse appeal to the film but ultimately fails the help the dreadfully mundane story line. 

Under discussion:

Towelhead  (2008)

Despite the rather abrupt title that immediately thrusts the themes of racism and prejudice examined throughout the film into the forefront, Towelhead is more intimately tied to a young girl's painful journey from the ignorance of childhood to the harsh realities of adolescence. After complications arise with her mother's new beau, Jasira (Summer Bishil) is forcibly shipped to her father's (Peter Macdissi) suburban home deep in the heart of Texas. Unaccustomed to his strict cultural notions of propriety that are tied to his Lebanese heritage, Jasira's sexual awakening after the onset of menstruation marks the first of many excruciating hardships brought on by puberty and the lack of a figure in her life to properly explain and guide her through it. Sufficiently confused but exceedingly more curious, Jasira's encounters with an amorous neighbor (Aaron Eckhart), a new boyfriend (Eugene Jones), and a concerned neighbor (Toni Collette) culminate into an unnerving and emotionally charged viewing experience.

Under discussion:

True North  (2007)

Isolated in the frozen Northern tundra, Saiva (Michelle Yeoh) and Anja (Michelle Krusiec) struggle to maintain a peaceful existence away from the encroaching Russian soldiers claiming the land for themselves and destroying all those that inhabit it. Survivalists to the core, Saiva is torn when a lone soldier (Sean Bean) finds his way to the outskirts of their dwelling and is on the verge of death. Ignoring her instincts, she brings the man into their home and nourishes him back to health. However, the family dynamic is obliterated as both women compete for the man's affection and their once serene environment is thrown into a chaotic mess, Lush locales and an entirely bizarre and unsettling twist make Far North an intriguing dramatic thriller.

Under discussion:

The Times of Harvey Milk  (1983)

Milk  (2008)

Utilizing a significant amount of stock footage from the documentary The Times of Harvey Milk, Gus Van Sant's Milk is an interesting cinematic experience in that the viewer is seemingly thrust into San Francisco in the 1970's during the struggle for gay rights and allowed to perceive life from an entirely new perspective. At 40, Harvey Milk (Sean Penn) leaves his closeted life in New York with a young hippie (James Franco) for the slowly burgeoning gay mecca of the West, San Francisco. Immediately forced into the world of political activism after encountering homophobia throughout his neighborhood, Harvey acts as a beacon of hope amongst the disenfranchised gay and lesbians of the city and devotes himself entirely to getting elected to political office and bringing together a community. Braving the storm of religious intolerance, hateful bigots, doomed relationships and anonymous threats on his life, Harvey Milk is able to inspire intelligent debate, make impassioned speeches, and elicit real change. Heartfelt and hilarious, tragic and tear-filled, Milk is one of those rare films that shakes us from our sternly held beliefs and awakens within us the insight into our true humanity.