Movie Review: ZOMBIELAND

I caught this one for 3 bucks at The Crest, and while it's by no means a great movie, it was pretty damn fun. The writing was good, the zombie stuff was gory and hilarious, and there were a few serious moments that were completely genuine and moving. Although I enjoyed all of the principal actors, the best part of the movie--hands down--was Woody Harrelson. Watching him slaughter zombies with a grin on his face and a smart-ass comment on his lips was an absolute delight, and it made me wish for a sequel just so I could see more of him. ZOMBIELAND isn't on the same level as SHAUN OF THE DEAD, but I'm glad I got out of the house to see it. Definitely worth a rental.

Book and Movie Review: CHOKE

The opening sentence of the book says it all: "If you're going to read this, don't bother." It's intended as an ironic comment by the narrator, but it holds fairly true for the book itself. With its' themes of isolation, alienation, self-indulgence, self-delusion, self-destruction, gleeful anarchy, and mental illness, CHOKE feels very much like a sequel to FIGHT CLUB, except that this time the narrator has an actual human being wreaking havoc in his life (his mother), and not just a demented alter-ego. So much of this novel is rehashing the same arguments put forth in FIGHT CLUB (the crushing sterility of consumer culture; the emptiness of our safe, sanitized world; the failure of God and all subsequent Godheads; rebirth and re-creation through destruction; etc.) that I wondered why I liked this book so much back when it was first released.

I will say that although I didn't care for this particular book, I thoroughly enjoy Palahniuk's writing style. He often employs short sentences, sentence fragments, and aphoristic musings in his work, not to mention the fact that he is funny as hell. For example, describing a certain type of mental patient that resides on the same floor as the narrator's mother:

"A squirrel is someone who chews her food and then forgets what to do next. They forget how to swallow. Instead, she spits each chewed mouthful in her dress pocket. Or in her handbag. This is less cute than it sounds."

In all fairness, there were many parts of the book that I enjoyed (just now as I was searching for that last quote I kept stopping and re-reading bits that I remembered) but even as I think about the strength of the individual moments, what left a lasting impression is the whole, and that impression was less than stellar. Who knows, maybe you will feel differently.

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Well, for a movie based on a book about a sex addict, they sure went out of their way to cut the balls off this story.

Every truly dark and unpleasant element of the novel is either absent from the film or sweetened up to make it more palatable, the flat black humor has been leavened with sight gags and "funny" music, and the character portrayals are soft and bland. (Although Sam Rockwell had the right look and attitude for the main role, he is about ten years too old, and the rest of the cast was so misplaced that I was left scratching my head.) I gave up on the movie after 45 minutes; life's too short.

Book Review: NO COUNTRY FOR OLD MEN

I had heard from several people that if you've seen the movie you have pretty much read the book, and this proved to be fairly true. (I actually credit the Coen Brothers for chopping the dialogue down to the bare minimum, because there were conversations in the book that felt overlong.) Since I saw the movie three times in the theatre and several times on DVD I wasn't able to fully experience the novel on its' own terms, but I'm still glad that I read it.

P.S. I should also note that despite the absence of a post-apocalyptic wasteland, this book is ten times as bleak as THE ROAD. That book, for all its grim imaginings, is about hope in the face of hopelessness. This novel, as the last paragraph makes clear, is about the absence of not only hope, but any order or sense to the universe at all. Harsh.

Book Review: SUMMERLAND

"The greatest stories contain every story."

I can't remember who said that (or if I just made it up) but it is certainly true of SUMMERLAND. Take everything you love about THE CHRONICLES OF NARNIA and LORD OF THE RINGS, mix in a dollop of THE TALISMAN, throw in a bit of THE GOONIES, add a splash of FIELD OF DREAMS, and you've got yourself an exuberant adventure story that will make you feel--and wish--that you were twelve years old again.

I was enchanted by this book within the first half of the opening chapter, and there isn't even anything that exciting in those first few pages. I have come to expect outstanding writing from Michael Chabon (and this book is no exception) but what stands out to me here is that although children are this target audience, he doesn't dumb down the language or paint everything in broad, cheesy strokes to make it simple. Instead, he does what I wish more people would do, which is to trust that kids are smart and can follow a complex story, and will rise to the occasion if he gives them a challenging word here and there (unlike, say, the author of a certain series of books about a boy wizard, who couldn't write her way out of a wet high school newspaper). Chabon borrows elements from numerous sources to craft an epic tale of good and evil, weaving these patchwork pieces into a literary quilt that maintains its uniqueness. SUMMERLAND is storytelling at its' best, and I have no doubt that I will be re-reading it the near future.

Movie Review: THE LIMITS OF CONTROL

"I think it's more interesting, all the things one doesn't know, is more fascinating than the things one does know." - Jim Jarmusch

Based on that statement, THE LIMITS OF CONTROL is the most fascinating movie I have ever seen. Or to put it another way: I have no idea what happened in this movie. I mean, I know the events that transpired, but I cannot for the life of me figure out what actually happened, what this movie is supposed to be about. There is almost no dialogue from the central character (hell, there's barely any movement--he spends half the movie lying in bed, staring at the ceiling) and what little dialogue we get from the characters he meets is cryptic and repetitive, dealing primarily with the sensory memories of molecules and musical instruments. (The underlying message of these conversations is that you carry with you everything you have every done, and the universe resonates with you.) In the last ten minutes of the movie we finally get to see him carry out the task he has been moving towards for the last two hours, but we have no idea why he is doing it. In the end, the things we don't know (everything about the movie) outweigh the things we do know (there are people on the screen) and the result isn't fascinating, just frustrating.

I am a big fan of Jim Jarmusch (I own all of his films) and I have never been put off by his slow, meandering style of storytelling before. In this case, however, I would have to say that THE LIMITS OF CONTROL felt more like THE LIMITS OF MY PATIENCE.

Happy Birthday, Tom!

Do us a favor: live for another 60 years.

Show Review: 30 ROCK

I'm not going to review this show, I'm just going to tell you to watch it. Created by and starring Tina Fey (Hottie!), this is the sharpest, funniest show I have seen on network television in a long time. Tina Fey is fantastic, Alec Baldwin is sublime, and Tracy Morgan is insane. The supporting cast is magnificent, and each episode tops the one that came before. So. Stinking. Good.

P.S. This review only applies to Season 1. I found Season 2 half-hearted and lackluster, and I won't have a verdict on Season 3 until it comes in at the library.

Book Review: MYSTERIES OF PITTSBURGH

As much as I have enjoyed the rest of Michael Chabon's novels (evidenced by the glowing reviews on this very blog), this one did absolutely nothing for me. MYSTERIES is Chabon's first novel, and although there are moments of lovely writing here and there, the fact is that I didn't care about the story, or any of the characters, or anything at all about this book. It felt strained, like he was striving to make the book bigger, to make it more than it is, and as a result everything comes out feeling terribly flat and somewhat dishonest. Believability is crucial to any piece of writing, and there was almost nothing in this book that rang true. (The exception to this is the climactic scene in the novel, which was poetic and vivid and graceful, and which I can't relay to you now for obvious reasons.) Taken as a whole, the book left me feeling unfulfilled, and slightly cheated.

I'm glad I read most of his other works first, because if I had started with this one I might not have bothered with the rest.