I lied. I finished Twilight yesterday morning before leaving for work, and I'm not reading Anna Karenina. I picked up The Good Fairies of New York again. It's still fairly flat, but I'll finish with it tonight or tomorrow.
It's not even the story that I find flat. The plot is good, the character ideas are good. But the execution is wrong. It sometimes reads like a daily comic, minus graphics. Very choppy and not enough imagery by far. The characters' manners of speaking are also awkward and not very naturalistic. I feel like I know what Millar is trying to do with it--minimalism akin to the telling of classic fairy tales--but I just don't think it works, not when your characters are not recognisable archetypes.
Following Twilight with this is making me feel like a very fussy reader. I think I'll try to get through Part Two of Anna when I'm done with Good Fairies. But Anna is a lot like a soap opera, without the satisfaction of steamy sex or over the top violent and melodramatic moments. I think the suspicion of this very thing is why I've been avoiding Tolstoy all these years.
I also added Dickens' The Pickwick Papers to my Summer Reading List. I might regret that decision eventually too.
My book-per-week plan should be back on track by the end of June if I keep tossing a couple of shorter novels between Parts of Anna Karenina. I think Funke's Inkspell and Pratchett's Sourcery are two good candidates for my next Anna-break.
Netflix sent me Stage Beauty, largely to do with English theatre in the late seventeenth century and focusing particularly on Edward Kynaston, one of the last male leading ladies before Charles II outlawed men in women's parts. I enjoyed it very much. Billy Crudup has a remarkably angular face, and, yes, is a very pretty man--though, in my opinion, much better-looking as a man than, as the movie seems to suggest at times, a woman. The half-hour long behind-the-scenes bonus feature was interesting. Tom Hollander's good-natured griping about Billy Crudup--excellent.
I was also supposed to get Stealing Beauty, but that didn't arrive. And they emailed me last night to say that Tron is being sent from New Brunswick, so there's no knowing how long that will take to get here.
The Lost finale is this evening, but I don't know whether to be excited or wary. I don't see how this season can end well.
Showing posts with label Lost. Show all posts
Showing posts with label Lost. Show all posts
29 May 2008
distractions
29 February 2008
unstuck in time
Michelle drove me to St. E's last night, and now my stitches are out.
Between going there and coming back, the whole process took about an hour, and by the time we got home, Lost was halfway through. So, rather than starting in the middle and rewinding later, I took a shower and waited for the whole episode to finish recording.
I really enjoyed "The Constant"--yes, sappy tearful ending and all (in fact, I did cry when Desmond finally got Penny on the phone). I took the whole as tribute to Kurt Vonnegut--Slaughterhouse Five particularly--except that the result (at present, anyway) seems much happier for Desmond Hume than for Billy Pilgrim. And I want Desmond's part of the story to have a good ending, though it doesn't appear that he's one of "the Oceanic 6"; I'm so sick of losing the characters that I actually like.
And then my VCR clipped off the ending (because ABC's schedule always seems to run a little off whenever they run two episodes of Lost back-to-back). So today I went in search of the last sixty seconds of the episode to find out what Daniel was reading in his journal.
"If anything goes wrong, Desmond Hume will be my constant."
The character Daniel Faraday is sort of adorable in a grown-up-stoner kind of way. The episode trailers always make whatever he says seem mysterious and vaguely threatening; but when I hear the lines again in the episodes' contexts, he just sounds dazed and confused all the time.
Also watched Torchwood's "A Day in the Death" before going to the hospital. I want to care about Owen, but ... meh? Next week's episode looks exciting.
On another topic, a realty agent sent me an email last weekend (I think my parents have been submitting my name and email), to which I responded at my leisure--with the full story of "taking my time, seeing what's out there, p.s. have a snowboard injury and indisposed for a bit." She's now sent me a list of properties and wants to know when I'd be free to see some of them.
This all feels far too grown up for me.
But I wonder if my aunt still wants me to visit this weekend; because, if not ... a few open-houses could be fun.
18 October 2006
'tis the season
I believe in going for seasonal food; it's not always around, so you should get and enjoy it when you can (shamrock shakes, the odd Starbucks flavours, and certain kinds of fruit). So I tried the pumpkin muffin at Dunkin' Donuts today. And, yes, it was good, like pumpkin bread. Mmm.
Makes me want to carve a pumpkin. Except not really, because it's a big mess and then you can't leave it outside without some jackass from Boston College smashing it to bits. Sad, but we live in a high-population area. Somebody would be a douche.
--------------------
Got three discs from Netflix yesterday, two of which actually worked. The last disc of Angel came with two cracks at the center, and was therefore sadly unreadable. Customer service assures me that I'm being sent a replacement today.
That left me with Young Hercules, which I know I've seen before, but couldn't recall at all. So I watched it again. And was plagued by the questions, "Why does Ares want to be king of Ithica? What can he possibly achieve from being a king that he can't get from being the GoW?" And there was no Joel Tobeck as Strife. Just Meighan Desmond as Discord (and she serves the same purpose, really, but I prefer Joel-sama ... and Strife). I'm also still puzzling over the giant Ares head swinging from ropes. Were they in the middle of building a giant statue of him? And why didn't he just snap his fingers and kill everyone? ... It's shoddy. But Kevin Smith is (... er, was) awesome, so I guess I don't care.
And I also watched a 1985 made-for-TV version of Anne of Green Gables. I've never read the book(s?), never watched any version on film. I was just curious about what I was missing, since I know a few people for whom this was one of their favourites as a child.
I'm sorry. I just don't see it. She's too bloody perfect and winsome for me. I'm not a big fan of the winsome orphan-heroine of young adult fiction (this includes Anne Shirley, Sara Crewe, and even Mary Lennox to a certain extent--though she's kind of a bitch to everyone).
Actually, I just wasn't much of a fan of young adult fiction. I think i went from Berenstain Bears to Stephen King and Ray Bradbury without a big transition in the middle. I seem to recall somebody trying to introduce me to The Babysitter's Club, and being BORED OUT OF MY MIND. I did, however, enjoy Madeleine L'Engle and some R.L. Stine (not Goosebumps, anything but Goosebumps).
The redemption of Anne of Green Gables (over three hours long, by the way) was the rest of the cast. The side characters are much more real to me than Anne; their behavior, their reactions, their speech--all of it is more believable than Anne's anything.
And, of course, ...
All new tonight at 9, only on ABC (but, also, later at 2 AM on abc.com):
Lost - "Further Instructions"
The fates of Locke, Eko and Desmond are revealed after the implosion of the hatch, and Hurley returns to the beach camp and explains what happened when he, Jack, Kate and Sawyer encountered the Others. Meanwhile, Claire is shocked to find Nikki and Paulo (Kiele Sanchez, Rodrigo Santoro) in Jack's tent. Boone: Ian Somerhalder. Eddie: Justin Chatwin. Mike: Chris Mulkey. Jan: Virginia Morris. Sheriff: Joel Himelhoch. Kim: Dion Donahue.
But I'll probably end up watching it tomorrow morning if I fall asleep before it comes on tonight.
05 October 2006
life is not the sum of its parts
We're only human.
The United States of Leland - Teenager Leland Fitzgerald (Ryan Gosling) appears to have everything going for him, including a famous writer father (Kevin Spacey). So, what drove him to kill? It's up to Pearl Madison (Don Cheadle), a teacher who works with inmates, to discover the anger, frustration and fear lurking beneath Leland's otherwise unruffled surface. Before long, Pearl helps Leland discover the truth about the painful past that led him to his excruciating present.
Gosling was 23 when he starred in this role, and I get the feeling he was trying to go for "quietly thoughtful teenager" but my first impression was "mentally deficient 20-something" because of his obvious physical maturity blended with intentional gawkiness and the inability to enunciate or say the right thing. Going beyond that, the character Leland is a disappointed character. Not disappointing--disappointed. He's unable to look at people and things and situations without seeing misery behind it all, so most of the time he "blocks it out" ... but when he can't "block it out" anymore, he blacks out one day, and kills his ex-girlfriend's retarded brother, whom he sees as the most miserable person he knows. Most of the film I was thinking, Sociopath.
Most of the poor reviews I've seen for this film come from the so-called moral muddle we're presented with. It does leave a lot to think about, much of it unpleasant. There are a lot of moral and theological questionings going on here. Why man creates/needs G-d and the devil (or just good and evil, if you like), why people do bad things at all, how the way people see the universe can have adverse effects on their social behavior, etc. Of course, there's the whole confusion around Leland's murderous act--Was it drugs? A falling out with his girlfriend? Lack of parenting? What made him snap? In the end, we don't really have a clear picture as to the big 'why'--why Leland killed this harmless kid that he obviously doesn't dislike, whom he, in fact, walks home all the time and takes care of better than the boy's own siblings and parents. But then the character was very up-front with the fact that there would be no decent 'why'--bad things happen, people are bastards, and sometimes trying to see a reason is completely futile.
To the other characters, it can't be said that Leland isn't a product of his environment. His father is an emotionally distant, though extremely successful, author who hasn't seen his son for ten years (he sends him an airplane ticket to a different city around the world every year, but he's never there). His girlfriend is an upper-middle-class junkie in reform school who dumps him for another junkie. Her parents basically ignore her in favor of her college-bound sister and sister's boyfriend (who happens to live with them for weird family reasons of his own). The college-bound sister is dumping the boyfriend after her brother's murder, and the boyfriend gets himself arrested so that he can make it into prison in order to murder Leland. Really, nothing is right with any of these people, and you have to wonder if it was much better before Leland's day of blacking out.
The filming is very stark at certain points. While in jail, Leland is wearing an orange jumper; into flashback mode, he's often wearing a hooded sweatshirt of the same bright pylon-orange while everyone around him is in muted gray tones. Ultimately it creates an extreme contrast between Leland and the people surrounding him, physically and mentally.
Message? We're all "only human" and therefore inclined to do wretched things, but hopefully we have the mental capacity to look beyond the moments of misery and not go bat-shit crazy in despair. ***1/2
And then there was Lost, and the Jack, Sawyer, and Kate habitrails--aquarium, primate house, locker room.
I love that people on the boards have started calling the Others' leader Benry.
And what did they do to Kate that she needs antiseptic and looks like she's about to have a break-down in front of Sawyer?
And wasn't the Jack flash-back kind of Dullsville and useless? Yes, he and his wife got divorced, which we already knew must have happened; we still don't know why. Okay, maybe he's the reason his father went back to the bottle after that 50-day sobriety, and maybe that's why Christian was practicing medicine under the influence, and went to Sydney, and died. I still don't think we needed a whole episode for this back story to be told. I hope next week's is more satisfying.
Tonight: Jesus Camp, 7pm, Kendall Cinema, Cambridge, MA ... Because morbid curiosity drives me to free screenings of movies about religious zealots. The WASPs have determined that the best way to fight Middle Eastern religious zeal and the godless ways of the modern age is with their own brand of religious zeal. Fabulous. I can't wait to watch the freaks in action. You know I'll have tons to write about after the fact.
04 October 2006
when you think as I do
Malcolm McDowell and David Warner have similar voices. Well, if they try, they have similar voices: sneering, British, "I'm-smarter-than-you" voices. And, really, either one of them makes for a decent villain.
Time After Time - Jack the Ripper (David Warner) is back to continue his ghastly reign of terror; this time, he's found his way to the late 1970s, intent on taking care of unfinished business. H.G. Wells (Malcolm McDowell) uses a time machine to pursue Jack into the future, where he meets Amy (Mary Steenburgen), a bank clerk who teaches Wells about life in the '70s while helping him hunt for Jack.
At the beginning of watching this, I'd forgotten who was going to be who; and the film opens on the Ripper murdering some prostitute (you know, like he does), but never showing his face. We do, however, hear his voice--which I mistakenly believed was McDowell, for all of three minutes until the scene changed to Wells' sitting room where other actors were clearly addressing McDowell as Herbert. Then Warner enters and everyone is calling him Stevenson (and I thought for a moment that they were going to have him be Robert Louis Stevenson so they could pull in the whole Jekyll and Hyde thing to have that be the reason why he's a crazy murderer--even though Wells and Stevenson weren't really contemporaries, since Stevenson was a Scottish Neoromantic and Wells was a younger London sci-fi man--but, anyway, no, his name is John "Jack the Ripper" Stevenson and there's no connection like that at all).
The movie is fun and weird and strangely frank about things you might not expect them to be as frank about with a PG rating. And poor H.G. has ideas about society being some kind of utopia in 1979 (hopes which are mercilessly dashed within a few moments of his arrival in, yes, his time machine).
I forget about the things people did and didn't have in 1979 (wasn't there, was I?)--the non-biodegradable McDonald's containers (yes, Wells visits McDeath), electric tooth-brushes, etc. What they most certainly didn't have was CGI technology. The special effects are typical to the time right before the entrance of CGI, but the cameras are better, so things even out. It's not all the greatest, but we suspend our disbelief, and it works itself out.
Strangely enough, even with the memory of "Alex" in my mind, Malcolm is adorable when he's so hapless and helpless; it's not a faithful portrayal of H.G. Wells, per se, but it's a portrayal that fits the story extremely well. He's a good actor and it's a pity he was type-cast to the villain, though I'm sure it's paid the bills all around. The DVD has a few special features--the writer/director and McDowell comment on the film, and there's a text section entitled "It's About Time" that runs through a fairly good list of the time-travel genre from books to movies.
The message? Screw time paradox and the importance of not tampering with the time-line. Also, screw that useless career. If you fall in love with a time-traveling sci-fi author, just go with it--and him/her back to his/her time, regardless of your inability to deal with the very real social aspects of this situation or the possible diseases with which your body won't be able to deal without the benefits of modern medicine. This is romantic sci-fi, after all, not reality (see: Kate & Leopold). ***1/2
I'm expecting The United States of Leland and the first disc of Angel Season Five today. But more than that!
All new tonight at 9, only on ABC:
Lost - "A Tale of Two Cities" - In the third-season opener, Jack, Kate and Sawyer begin to discover what they are up against as prisoners of the Others. Christian Shephard: John Terry. Sarah: Julie Bowen. Mr. Friendly: M.C. Gainey. Ethan: William Mapother. Goodwin: Brett Cullen.
I love that Jack's father and Ethan keep showing up, in spite of their being quite dead since Season One.
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