Category Archives: Writing

The Conjuring (2013)

29 Thursday Oct 2015

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Can you see it? Can you hear it?
Can you bear an evil spirit,
Claiming your home as its own
And wishing ill on all who near it?

Darkness deepens; who can light it?
Wrong runs rampant; who can right it?
One can’t stop a ghost alone
For only higher help can fight it.
________________

MPAA rating: R (only because it’s intense; the actual content is more like PG-13)

Since I don’t really celebrate Halloween anymore, I was tempted to avoid reviewing horror movies this month and leave them to the more experienced horror aficionados. (You know who you are.) Yet with my latest list of scary movies and that general Halloween “spirit”, I couldn’t stay away from such films entirely.

Upon release, The Conjuring was just one more horror movie, a genre I typically ignore nowadays. Putting director James Wan’s name on it may have excited Saw fans, but it only convinced me that it wasn’t for me. But then, I read some reviews, reviews that mentioned how this new movie recalls a time when horror didn’t mean inventing new ways to kill people, but rather focused on atmosphere and that creepy look-over-your-shoulder feeling. What’s more, I heard that religion was positively depicted as a weapon against evil, which seems to be more and more uncommon lately. So I gave The Conjuring a chance…alone…at night, which probably wasn’t the wisest thing to do.

The beginning starts out like an episode of The Twilight Zone or The Outer Limits, with some stupid twenty-somethings describing how they invited a presence to live in a doll, at which point this Annabelle becomes the kind of possessive plaything they can’t throw away. (The doll even got its own poorly received spinoff movie.) They get help from Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), a Catholic couple who are described as demonologists, ghost hunters, or wackos but generally take these kinds of stories seriously when others won’t. They act as paranormal investigators, laymen who refer priests when an exorcism is needed and keep their own private Warehouse 13 of cursed items in a room in their house, which probably ought to be locked.

Cut then to the Perron family (led by Ron Livingston and Lili Taylor), who are moving into a nice, spacious, diabolical house, with no idea that a witch used to live there. Even with the few horror movies I’ve seen, I could tell that The Conjuring borrows from so many other movies that one might be tempted to call it derivative. Like Poltergeist, there’s a possessed doll, a don’t-look-under-the-bed scene, experts setting up surveillance technology, and a snowy television set (a brief but obvious reference). Like The Sixth Sense, the Perrons complain about the cold whenever spirits are about, and one scene is blatantly borrowed (hint: “Look what you made me do!”). Perhaps the closest similarity is with the original Amityville Horror. Both are based on true stories, creepy things happen at the same time every night, the family discovers a sealed room/basement, the dog reacts badly, the youngest daughter befriends an invisible playmate, and one parent is compelled to follow in another’s murderous footsteps. At the end, the Amityville story is even referenced as the Warrens’ next case, which they did indeed investigate.

Yet for all its appropriations from past horror, The Conjuring is arguably scarier than its predecessors, thanks to an overall atmosphere of dread. While there are some jump scares, more often the scary moments are drawn out, making you think something will happen and often going with a subtler but spookier option. The moody lighting and resourceful camerawork add to the film’s quality, making it no surprise that it became one of the most successful horror films ever. Ultimately, The Conjuring proves that filmmakers don’t need buckets of blood to frighten their audience; sometimes a pair of hands or a rocking chair or a door moving on its own will do the trick. Often the simpler scares are the more potent.

In addition, religion is positively portrayed, in contrast to The Amityville Horror, where the evil presence chases a priest away and later blinds him. As Ed Warren states, placing crucifixes around the house “pisses off” evil spirits, and though the Catholic bureaucracy is slow in responding to the Warrens’ pleas for an exorcism, the actual rite gets quite a reaction from the ghost and proves dominant when paired with the power of familial love. I personally found this to be refreshing and one of the film’s greatest strengths. Filmmakers are free to scare the crap out of moviegoers, but it’s less common for them to follow up the chills with a religious message and some assurance that good can still conquer evil. Bravo for that!

Best line: (closing note from the real Ed Warren) “Diabolical forces are formidable. These forces are eternal, and they exist today. The fairy tale is true. The devil exists. God exists. And for us, as people, our very destiny hinges upon which one we elect to follow.”

Rank: List-Worthy

© 2015 S. G. Liput

342 Followers and Counting

My Top Twelve Scary Movies

25 Sunday Oct 2015

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I’ve made no secret about the fact that I don’t really enjoy horror movies, and this is why I simply haven’t seen very many. I’m a stranger to zombies and body horror and slashers, and I don’t have much desire to change that. I suppose my aversion to the genre has three main reasons behind it.

First of all, though horror is among the most prolific of film categories, much of it is of low quality. I’ve read many more reviews of horror films than I’ve actually seen, and so many are described as stupid, boring, ridiculous, exploitative, and other less-than-appealing descriptors. I try to avoid bad films as a rule, so these kinds of reviews haven’t made me eager to broaden my horror palate. Secondly, the majority of horror focuses on evil and violence, often existing for no other reason than to dream up new ways of killing people (Saw, Final Destination, etc.). I believe that demons and dark forces are real, and I want to give depictions of them as little of my time as possible, particularly since the latest trend seems to be allowing evil to prevail in the end.

The third and final reason is the simple fact that I am a wuss. I can’t stand gore in regular movies, let alone scary ones, and I tend to have an active and easily troubled imagination. I mean, I remember being almost traumatized by an episode of the cartoon Courage the Cowardly Dog, which had this creepy mummy just standing there in the distance.

I just don’t think I can handle most of the disturbing content out there.

I can’t say that I don’t like all horror movies, since I have enough to make a list like this, but all this is to say that I’m very picky about my scary movies. I don’t mind being scared as long as it doesn’t cross my personal threshold and as long as there is some redeeming factor, such as artistry, great acting, or overall entertainment. For this list, I’m also avoiding any genre debates about what constitutes “horror” by making this a list of scary films, films that scared me but that I still found to be worthwhile. One good thing I can say for horror is that it can be educational, often showing viewers what not to do in a dangerous situation, so I’ll include lessons I learned along the way. If anyone knows of films like the ones below that I may enjoy, feel free to recommend others!

  1. Twilight Zone: The Movie (1983)

One of the most obviously chilling aspects of this movie is that three people died during its production, actor Vic Morrow and two children, who were killed in an accident during the “Time Out” segment of this anthology. Oddly, this one and “Kick the Can” are the least scary, but there are plenty of unsettling moments, from the hitchhiker prologue (“You wanna see something really scary?”) to the remake of the classic episode “Nightmare at 20,000 Feet,” where John Lithgow really comes unhinged. It was the third segment, though, that frightened me the first time, in which Kathleen Quinlan witnesses the cartoonish yet hellish imagination of a reality-warping child. Cartoons aren’t supposed to be scary, right?

Worst scares: The TV demon, and Lithgow opening the plane window

Lesson learned: Don’t pick up hitchhikers that look like Dan Aykroyd.

  1. I Am Legend (2007)

This may not seem like an obvious choice, but the abandoned New York in this Will Smith zombie-ish thriller is certainly unnerving, empty yet full of anticipation that something is out there. When Robert Neville is forced to follow his dog Sam into a dark building full of “Darkseeker” mutants, his first-person-shooter exploration is among the most intense scenes I’ve encountered. The final cut would have benefited from the happier alternate ending, but I Am Legend manages to be unexpectedly emotional in addition to tense. I might also include the only zombie film I’ve seen, World War Z, which is more action-oriented (and not gory) yet still manages some taut moments.

Worst scare: Exploring the pitch-black building

Lesson learned: If someone creates a cure for cancer, test it first! (Also, don’t yell at mannequins.)

  1. Jurassic Park (1993)

This is the main reason I went with “scary” movies instead of “horror” movies. I’m fully aware that this isn’t horror, but who wasn’t scared by those raptors? My VC has mentioned how she was practically kicking the seat in front of her when Lex almost falls out of the air vent. Sometimes a thriller like Jurassic Park can keep you more on the edge of your seat than genuine horror and keep it a lot more fun. This also happens to be one of only two films at which I’ve caught myself nearly hyperventilating (the other was Oliver! Weird, I know, but I was a kid.)

Worst scare: Raptors in the kitchen

Lesson learned: Don’t spend millions to bring ancient predators back from the dead and then put ultimate power in an unreliable slob that looks like Wayne Knight!

  1. Stephen King’s It (1990)

Based on the book by horror-meister Stephen King, the miniseries It features one of the most frightening characters around. Tim Curry as Pennywise the Dancing Clown has a vicious zeal that contrasts with his jolly appearance as he toys with and preys on the children of Derry, Maine. It isn’t as scary as a lot of other movies (and the ending may leave something to be desired), but after seeing It, it’s hard to look at clowns and storm drains the same way.

Worst scare: Holding hands in the sewer

Lesson learned: If you’re lucky enough to survive a child-eating monster and move away from it, don’t move back!

  1. The Amityville Horror (1979)

One of the original famed haunted house movies, The Amityville Horror became popular largely due to its status as a “true story.” With so many uncomfortable events coinciding, it’s a convincingly eerie tale, with Josh Brolin and Margot Kidder playing a happily married couple threatened by a malicious house. The instances of horror are almost like a checklist of warning signs to watch out for when dealing with a haunted property, and the sinister finale goes all out, though I don’t typically like films where evil seems stronger than religion.

Worst scares: Babysitter in the closet, and “Get out!”

Lesson learned: If your new house attracts swarms of flies and if you discover a secret evil room and if your daughter befriends a pig demon, maybe you ought to MOVE before the walls start bleeding!

  1. Signs (2002)

Despite M. Night Shyamalan’s declining reputation, I still consider his first three films outstanding. Signs is his take on the alien invasion but stays on a much more intimate level, focusing only on Mel Gibson’s rural family rather than the world at large. Despite light touches of humor, Signs has its fair share of frightening moments, both before and after Gibson’s Graham Hess tries to rationalize the strange events afoot. It’s an instance of what you don’t see being scarier than what you do, which happens to be what I prefer.

Worst scares: The corn field, and the TV reflection

Lesson learned: I don’t care if you are convinced it’s vandals; don’t go out in a corn field at night!

  1. Poltergeist (1982)

Poltergeist was one of the first horror films I saw, and I still consider it somewhat of the gold standard of classic scares. It might have been higher on the list if I had fonder memories of it. I think I saw it too young, and that clown scene especially scared the you-know-what out of me. At the time, I was already nervous about what may be under the bed, and that jump scare was too much for me. Oh, and the rest, of course, was terrifying too: closets that suck you in, trees that suck you in, corpse-filled swimming pools that suck you in, ceilings that do the opposite. Not to mention, there’s the whole curse of actors dying afterward because the filmmakers used real skeletons. *Shiver* I’m so glad they did away with that snowy TV screen after midnight.

Worst scare: That clown!

Lesson learned: Don’t sleep with the TV on!

  1. The Others (2001)

Everything seems creepier when it’s dark, and this Nicole Kidman ghost story has plenty of darkness. Kidman plays a mid-19th century mother with two photosensitive children (the light can kill them), whom she shuts away in her large mansion for their own safety. The arrival of new servants brings much to light, so to speak, and the ultimate twist seems like something Shyamalan would have come up with. I often keep my doors shut to keep the cat out of certain rooms, and I’d be lying if I said those closed doors didn’t make me a tad nervous after seeing The Others.

Worst scare: The room of covered furniture

Lesson learned: Don’t get too isolated; the dead may be your only visitors. (Also, keep a shotgun handy. It’s comforting, if not effective.)

  1. The Conjuring (2013)

One of the few modern horror films I’ve seen, The Conjuring lured me in thanks to positive reviews that mentioned potent scares and little gore. That’s exactly what it delivered, but I was also impressed at the level of director James Wan’s technical finesse and the Christian strength in the battle against a malevolent spirit infesting a Connecticut family’s house. There are many callbacks to films like Amityville and Poltergeist, but the chilling atmosphere surpasses them, making this possibly the scariest film I’ve seen. (I just like others more.) Nevertheless, the film ended with the right balance of dread and satisfaction and proved the profitability of well-done horror.

Worst scares: Anytime someone falls into the basement

Lesson learned: Never ever teach your children hide-and-clap!

  1. The Shining (1980)

Not being a fan of Dr. Strangelove or 2001, I wasn’t convinced of Stanley Kubrick’s status as a master filmmaker until I saw his stab at horror. The Shining may have displeased Stephen King with all the changes to his book, but never has a hotel been scarier. Emptiness seems to be inherently frightening, especially when it drives Jack Nicholson psychotic as he works on his novel with only his wife and psychic son as company. Intriguingly ambiguous about whether there are ghosts or time travel at work, The Shining is technically and terrifyingly superb.

Worst scare: “Heeere’s Johnny!”

Lesson learned: “All work and no play makes Jack a dull boy.”

  1. Alien (1979) and Aliens (1986)

I realize there is a debate over whether science fiction can truly constitute horror, but Alien seems like the perfect affirmation that yes, it can. Described as a “haunted house in space,” Ridley Scott’s first film in the variable franchise has more frights than many straight-up horrors, from the approaching beeps when tracking the creature to its unforgettable first appearance. Aliens is arguably even better, shifting to a more shoot-‘em-up style that amps up the action without sacrificing the shocks. Both films also cemented Sigourney Weaver’s standing as a leading heroine, and even if they’re probably the most violent films on this list, I find both watchably suspenseful in the best way.

Worst scares: Dallas in the tunnels, and Newt in the sewer

Lesson learned: Never trust the Company!

  1. The Sixth Sense (1999)

Is The Sixth Sense the scariest film ever? No, but it’s a prime example of horror surpassing its own genre to become something thought-provoking, bittersweet, and still nail-biting. As M. Night Shyamalan’s first mainstream film, it also made him a household name. While it may be easy to dismiss it as a one-time twist film, the twist alone begs additional viewings, which then reveal the layers of emotion under the surface. The paranormal aspect impedes the human connections, between Bruce Willis and his wife and Cole and his mother, yet as both are resolved, a supernatural thriller becomes unusually satisfying. I hope Willis’s next collaboration with Shyamalan will be a return to this kind of film for both of them.

Worst scare: The tent ripping open

Lesson learned: Touch someone every now and then, just to be sure. (Also, keep your thermostat up.)

Runners-Up:

The Birds (1963) – Alfred Hitchcock’s avian revolution is a little too dated to be scary overall, but there is the jungle gym scene and the house siege that anticipated other home invasion movies.

Gremlins (1984) – This unconventional Christmas movie trades cute for scary with some dark comedy thrown in for good measure.

The Lost Boys (1987) – More violent than the other films here, yet I still enjoy it, mainly because this vampire flick doesn’t take itself too seriously.

Monster House (2006) – One of the few animated horrors, this somewhat intense film about a haunted house come to life becomes scarier when not even the grown-ups can stop it.

The Mummy (1999) and The Mummy Returns (2001) – I love these films, but the action has always superseded the horror aspect in my eyes, though the first especially has its alarming moments.

Prometheus (2012) – It may have disappointed a lot of people, but Prometheus served as a sufficiently taut prequel to the Alien franchise.

Psycho (1960) – The original and only slasher film I’ve seen, Psycho is buoyed by Hitchcock’s disorienting camerawork and Anthony Perkins’ sincere fiendishness.

Wait until Dark (1967) – Though most of this movie is more boring than thrilling, the ending really picks up, with one scare that even made my VC scream.

War of the Worlds (2005) – Another sci-fi film, Spielberg-style, with both action and some horrific sequences of mass murder.

Like I said, these films may seem pretty tame to the hard-core horror fans out there, but they take me to the edge of my comfort zone while allowing me to still enjoy the genre, which is exactly what scary films are supposed to do.

VC Pick: Cousins (1989)

21 Wednesday Oct 2015

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Her husband cheated with his wife,
The ruiners of married life,
So Larry and Maria planned
To let them suffer doubt firsthand.

A walk and talk or two or three
Let friendship flourish fluently,
And is not romance at its best
When friendship fully has progressed?

A marriage undermined by lies
Will likely lead to compromise,
But truer love is worth a chance
To lose the doubt and share a dance.
______________________

MPAA rating: PG-13

This is a film my VC adores so I couldn’t put it off any longer. Seriously, it’s in her top 50, and while I’m not as much of a fan, I do agree that Joel Schumacher’s Cousins deserves more recognition. Based on the 1975 French film Cousin Cousine, this growing romance seems to both condemn and embrace marital infidelity while balancing the heavy stuff with playful interactions among an extended Polish-French family.

At Phil and Edie Kozinski’s middle-aged wedding, all manner of quirky relatives pour in, from a pair of overly critical slobs to an old lady who thinks Edie killed her last husband by feeding him too much butter. Among the extended kith are two couples, Larry and Tish (Ted Danson and Sean Young) and Tom and Maria (William Peterson and Isabella Rossellini). Larry and Maria happen to meet while looking for their respective spouses, and what could have remained familial rapport is strengthened by the mutual belief that their spouses are cheating with each other. Hoping to “get back” at Tish and Tom, Larry and Maria take walks, break fish, and revel in the knowledge that their spouses must be seething with jealousy. Nothing happens, but that’s not to say they don’t want it to. When their marriages are further strained, propriety finally takes a back seat, and a romance born from conversation and a personal connection is able to blossom.

Marriage is very much at the forefront. The progression of Larry and Maria’s relationship plays out against the diverse spectrum of their large family, from wedding to funeral to wedding. Charming subplots provide detached vignettes that still hold an air of romance, such as Larry’s father (Lloyd Bridges) in search of love with the help of his weird grandson (Keith Coogan). Ultimately, though, Larry and Maria must face the fact that they love each other and weigh that love against the strained marriages they already have.

My VC finds this film entirely romantic and enjoys the different kinds of marriages depicted, from the wedded bliss of the older couples to Larry and Tish, who share a bohemian spirit, to Tom and Maria, whose uneasy awareness of infidelity doesn’t foster the most loving home for their daughter. My VC also loves the lesson that you’re never too old to fall in love and get married, and she admires the fact that the protagonists actually care enough about their marriage to hesitate, unlike their unfaithful spouses.

As much as I wanted to love, love, love Cousins as much as my VC, it never rose above charming in my estimation. Thanks to a clever script and their unmistakable chemistry, Danson and Rossellini do make an appealing couple, and I had no problem with their initial plan against their unfaithful spouses. It all seemed rather innocent at first, but as much as I believed they were better off with each other, it’s hard for me to fully agree with cheating on cheaters, especially when their marriages might have stabilized without the added doubt. Even so, in the end, this is a film in which we recognize who is meant for whom, and we might as well enjoy watching the characters figure it out. If you don’t focus too hard on the failed marriages, the successful romances will leave you smiling.

Best line: (Aunt Sofia, who has been talking with Larry’s strange son Mitch throughout the film) “You still want to kill people?”   (Mitch) “Nah, they’re too stupid.”

Rank: List Runner-Up

© 2015 S. G. Liput

342 Followers and Counting

Being There (1979)

18 Sunday Oct 2015

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Being there is everything,
To look and listen silently,
Even if you may not understand or feel the need to ponder.
Whether poor or richest king,
No good came from an absentee,
And though the wise may disagree, mere presence makes the heart grow fonder.
_________________

MPAA Rating: PG (PG-13 would be better)

Some actors trade in great early roles for lackluster later ones, but Peter Sellers went out on a high note in his last film released during his lifetime, Being There. A heavy mix of absurdist comedy and social drama, Being There seems to foreshadow Forrest Gump fifteen years later in placing an apparent moron in ever more unlikely and beneficial positions, even meeting the President. Whereas Forrest, though, was self-aware and achieved his status through action in addition to luck, Sellers as Chance the gardener goes literally from rags to riches through a series of ridiculous yet effective coincidences.

Kept in seclusion within a large townhouse, Chance knows nothing about the world except gardening and what he sees on television. He’s been cared for his entire life and is as helpless as he is oblivious. The reasons for his isolation and care by the wealthy “old man” are never made clear, but Chance is an afterthought when his benefactor dies. Thrust into the wilds of Washington, D.C., one would expect him to be either beaten up by punks as a weirdo or ignored to the point of death. (He can’t even prepare his own meals.) Yet against all probability, he ends up the guest of aging businessman Ben Rand (Oscar winner Melvyn Douglas), who sees unexpected wisdom in Chance’s clueless silences and vague gardening tips. With his passive demeanor and assumed sophistication, Chance captures the attention of the nation and of Rand’s wife Eve (Shirley MacLaine).

While the Oscar went to Douglas for his thoughtful performance as a dying millionaire, this is Sellers’ film. His presence is uncanny in its earnest simplicity. He smiles, he nods, he provides basic responses, and he remains entirely unmoved by his effect on others. While people are praising him or reminiscing to him or throwing themselves passionately at him, he stays placid and blank. Of course, this is where much of the humor comes from. Probably the funniest scene is a series of outtakes that play over the end credits, in which not even Sellers could utter his droll lines with a straight face. (He supposedly blamed this scene for his failure to win Best Actor, but I think Dustin Hoffman in Kramer vs. Kramer deserved to edge him out.) Indeed, Douglas and MacLaine turn in excellent performances as well, the latter offering a semi-explicit sex scene that is both awkward and hilarious. The film also stands out for its location shooting at the lavish Biltmore Estate in Asheville, North Carolina, which I recognized from my own visit to the grand property.

Being There becomes something a bit deeper in its final scenes, in which Chance begins to take on almost messianic qualities. With this, the filmmakers seem to be encouraging debate over the meaning of it all. Is it that the most important people achieve their status by their mere presence rather than their actions? Is it that simplicity and gentle innocence are so refreshing that they can get you further in life than the opposite? Shakespeare’s Macbeth said that life “is a tale told by an idiot,” so is Being There implying that only a complete idiot can effectively traverse it? Does the film mean to expose the inanity of business and power by comparing politics with nonsense? Yes to one or all, the film remains ripe for whatever interpretation you please. Films with this kind of ambiguity are rare and rarely as good as Being There.

Best line: (Chance, who is naturally misunderstood) “I like to watch.”

Rank: List-Worthy

© 2015 S. G. Liput

340 Followers and Counting

Quiz Show (1994)

11 Sunday Oct 2015

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Can you be sure of where you stand
And how you’ll keep your footing when
A bit of guile gets out of hand,
And lies are needed once again?

They say the truth can set you free,
But when has someone crossed the line
Of giving up on honesty
Because to err is not divine?

When baby steps grow up too fast
And liars find them ill-advised,
They see the slope that cannot last
Began when first they compromised.
________________

Rating: PG-13 (solely for language)

For a year like 1994 that had acclaimed films like Forrest Gump, The Shawshank Redemption, and Pulp Fiction, it’s not surprising that a good but lesser film would be swept under the rug, so to speak. With so many good films that year, Quiz Show remained an afterthought, both during the awards season and for my own to-watch list, even if it was directed by Robert Redford. This really is a shame because this is a potent exploration of intellectual and personal honesty and might have performed much better in a less competitive year (1996 perhaps).

Quiz Show is based on the memoir of Richard Goodwin, an investigator for the Legislative Oversight Committee of the House of Representatives back in the 1950s. Rob Morrow plays Goodwin in the film, a lawyer who notices some peculiarities on a popular quiz show called Twenty One and follows a hunch to investigate. Apparent genius and champion Herb Stempel (John Turturro) is told to take a dive by the show’s producers (David Paymer and Hank Azaria) and loses on an easy question to allow the advent of Charles Van Doren (Ralph Fiennes). As likable Van Doren’s star rises, Stempel is ignored as he alleges corruption on the supposedly upstanding quiz show. As the investigation progresses, ethics are stretched, and new information comes to light that blurs the lines of right and wrong.

Thanks to excellent casting, Turturro and Fiennes really steal the show here. The missing teeth and, shall we say, homely appearance of the former ideally casts him as the ugly step-contestant, while the verbal grace and perfect hair of the latter offer a striking contrast to his predecessor. It leaves no doubt as to the reasoning of the showrunners. To them, Stempel should be the pitiful reject who can’t cope with losing, and Van Doren should be the shining example of virtue and erudition. In the hands of a lesser filmmaker, Stempel might have become the browbeaten underdog and Van Doren the haughty record holder. Yet while these characterizations are somewhat true, there are many more nuances and complex motivations behind them.

Van Doren, in particular, is depicted as a right decent chap, one who values honesty and intelligence but edges down a slippery slope. Fame can be quite the drug. Why else do so many people do such stupid stunts and post them on the internet? Why else would a successful college professor risk his career for a game show? One might take comfort in the “no one will ever know” mentality, but Van Doren seemed from the start as someone to respond with the “I would know” answer and refuse. Yet the web is woven. He revels in his newfound popularity but buckles under the weight of his own complicity, all while remaining entirely likable, both to us and to Mr. Goodwin. Though liberties are said to have been taken with the details, the ethical conflict rings true for this true story. After all, game shows are still watched as a matter of trust that they aren’t rigged. (I remember when Ken Jennings lost shockingly to a one-night wonder on Jeopardy! several years back. He claims that he simply didn’t know the final question, but I still have my doubts, though I tend to think he might have gotten tired of it all and “taken a dive” on his own without any behind-the-scenes intervention.)

Redford paints the moral dilemmas with a steady hand and, like some statements during the Congressional hearings near the end, offers sympathy when proper and reproof when needed. Quiz Show’s strength is that it is far from black and white. Like other films such as The Prestige or Rashomon, there is no clear-cut good guy to root for, just many victims and varying levels of blame. In the end, justice may be said to be done, but not perfectly. Corporate string-pulling proves too persuasive, but Quiz Show isn’t just about an official scandal or the innate duplicity of show business. It’s about honesty, whether tested, lost, or regained.

Best line: (Herb Stempel, offering rugalach to Goodwin) “Come on, they’re a Jewish delicacy. Before Toby eats it.” (Toby Stempel, his wife) “I’m retaining water, for your information.”   (Herb) “You and the Grand Coulee Dam.”

Rank: List-Worthy

© 2015 S. G. Liput

341 Followers and Counting

My Top Twelve Na Na Na Songs

08 Thursday Oct 2015

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If anyone hasn’t realized it yet, I really enjoy lists, whether I agree with them or not, and I’ve found a lot of entertaining lists from Miss Mutant of Cinema Parrot Disco. While she focuses on “mainly movies,” she also has plenty of musical posts and song lists. Well, I like music too, so why can’t I join in? Movies and poetry will still be first and foremost for me, but favorite songs may pop up now and then. I’ll still try to find some way to tie it in with movies.

For my first such list, I went with that easiest and perhaps laziest of song lyrics, the “Na na na.” If you don’t know the lyrics, it’s natural to just follow along with this syllabic stand-in, but sometimes songwriters just dispense with further choruses and let the na nas roll. Not only is this easy to remember, it often fits the tune splendidly and makes it stick in the mind…endlessly. Good luck getting these songs out of your head.

Whether the na nas be short or whether the na nas be long,
I’m singing these na nas and bringing these na nas, song by indelible song.

 

  1. “What Makes You Beautiful” by One Direction

 

As their debut single, “What Makes You Beautiful” put One Direction on the map of pop music. It’s modern; it’s catchy; it’s got that boy-band glossiness; and as far as mainstream teen music goes, I like it more than most. The actual “na na na” portion is much too short, but it underscores the catchiness of the hook.

 

  1. “F Games” from the Phineas and Ferb episode “Got Game?”, written by Dan Povenmire, Jeff “Swampy” Marsh, Martin Olson, and Michael Culross

 

Almost every episode of Disney Channel’s Phineas and Ferb had an original song, many of which are outstanding. This one, from the obligatory boys-vs.-girls episode, has all the intensity of a major sporting event, and I can easily picture fans epically chanting this from the stands.

 

  1. “I’ll Be Your Shelter” by Diane Warren, sung by Taylor Dayne

 

Soulful and with some distinctively Tina Turner-ish vocals, this Taylor Dayne single creates an aura of romantic strength, and the na nas bridging each chorus only heighten its appeal. I wonder if this would sound much different if Tina Turner did a cover?

 

  1. “We Are Young” by fun.

 

I like fun. That being said, I love “Some Nights” way more than this song, and I don’t think “We Are Young” is all that great until the na na part. Then, as with most na na lyrics, it becomes a rousing earworm worthy of a swaying singalong. I wonder how lead singer Nate Ruess will feel singing this in forty years.

 

  1. “All the Small Things” by Blink-182

 

Surprisingly pop-ish for a punk band, “All the Small Things” is utterly catchy, and the more I hear it, the more I like it. The “na na na” portion is upbeat and repetitive enough to leave one out of breath by the end.

 

  1. “You Are the Music in Me” from High School Musical 2, written by Jamie Houston

 

I knew I could make a movie connection. High School Musical 2 is easily the best of the HSM films, and this duet is just one among many great songs. This one is also unique in that it has two versions, a sincere love song between Troy and Gabriella and a forced but faster rock version between Sharpay and a hilariously intimidated Troy. I prefer the sincere first one, but my VC actually likes the second version better. Which one do you like?

 

  1. “Na Na Hey Hey Kiss Him Goodbye” by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to the band “Steam”

 

Dripping with 1960s/70s-ness, this head-bopper was a number-one hit and is a natural favorite for “in-your-face” rivalries at sporting events. Plus (another movie mention!), it was used to tear-jerking effect in Remember the Titans.

 

  1. “Lovin’, Touchin’, Squeezin’” by Journey

 

This song used to act as an introduction to Journey’s “City of the Angels,” but it’s still tender and romantic (if a little less rocking) by itself. During the “na na na” part, I always picture a huge stadium of fans all waving their lighters in the air.

 

  1. “Hush,” written by Joe South for Billy Joe Royal, better known version by Deep Purple

 

There are many covers of this song, but I’m personally only familiar with Deep Purple’s version. This early hit was groovy enough for 1968, while setting the stage for heavier rock to come. The instruments go all over the place, but the na nas are there from the very beginning. Plus, it has apparently been in several movies, including Apollo 13.

 

  1. “Hey, Jude,” by the Beatles

 

“Hey, Jude” is one of the biggest songs ever produced by the Beatles and a special favorite of my dad’s. A more gentle form of rock, its strength still builds and lingers in the memory, thanks especially to the extended “na na” fadeout. This particular video show the universal appeal of both this song and the “na na,” both easily understood in any language.

 

  1. “The Look” by Roxette

 

What do you do if you want to break your music out of Sweden and introduce it to the world? You write a song as awesome as “The Look.” That’s what the duo Roxette did, and the “na na na” section alone bumps it this high on the list. Not enough na nas for you? It has la las too!

 

  1. “Centerfold” by The J. Geils Band

 

I’m the last person to be checking out centerfolds, but I looooooove this song! IMO, this is easily the catchiest song on the list and the one to which I most enjoy rocking out in the car. Na nas don’t get much better than this.

 

Runners-Up:

 

“12lb Toothbrush” – Madder Lake

“A Horse with No Name” – America

“Comeback Kid (That’s My Dog)” – Brett Dennen

“Come Back Song” – Darius Rucker

“Crash” – The Primitives

“Gettin’ Jiggy wit It” – Will Smith

“How Do You Do” – Mouth & MacNeal

“Kick in the Teeth” – Papa Roach

“Na Na Na (Na Na Na Na Na Na Na Na Na)” – My Chemical Romance

“Na Na” – Superchick

“P.Y.T. (Pretty Young Thing)” – Michael Jackso

“So What?” – Pink

“Tell the World” – Eric Hutchinson

“Tonight, Tonight” – Hot Chelle Rae

“Undo It” – Carrie Underwood

“Welcome to the Jungle” – Guns N’ Roses (I barely remember the na na part, but my VC insisted on mentioning this one.)

 

I’m sure there are plenty of other good na na songs out there, but these are the ones I’ve heard and liked. Feel free to recommend other potential favorites!

 

Frozen River (2008)

04 Sunday Oct 2015

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Who would cross a frozen river,
Doubtful of its permanence,
And brave the temperature extremes?
One lacking lawful common sense
Or thawing frozen hopes and dreams?

Who would risk the little had
To aim for better plans ahead?
Perhaps one with a choice to face,
Where desperation dims the dread
And needed greed can turn to grace.
__________________

MPAA rating: R (solely for language)

When you hear stories on the news about illegal activities like smuggling, it’s easy to imagine that the perpetrators are wicked scum-of-the-earth types. While there are undoubtedly plenty of this sort out there, sometimes it takes a movie like Frozen River to put people’s actions in context.

Melissa Leo plays Ray Eddy, a woman just trying to get by on her dollar store paycheck while raising two sons. Intent on leasing a larger mobile home, her plans are devastated by her husband after he disappears with the money to satisfy his gambling addiction. Set against the freezing temperatures of upstate New York, the situation immediately gives the viewer reason to pity Ray’s predicament. From there, her gradual introduction into one leg of a smuggling operation is entirely believable, even as the movie earns its thriller classification with the tension of her potentially being caught. Ray isn’t alone in being sympathetic. Lila Littlewolf (the late Misty Upham), the Mohawk woman who persuades her to help transport illegal immigrants across the Canadian border, has problems of her own with her health, family, and job prospects. While she knows the ins and outs of the smuggling process, she’s no hardened criminal, and the two women form a tenuous but profitable bond.

With all of the debates about illegal immigration in this country, Frozen River thankfully doesn’t have an agenda. Like the Italian film Bicycle Thieves, it doesn’t try to justify the actions of its characters but rather helps us comprehend their motivations. Those scum-of-the-earth types are certainly part of the operation, but Ray and Lila are simply putting their family above the law, which is understandable if not altogether right. Moments of selfishness and concern give way to compassion and maternal solidarity, and though the ending could have benefited from an extra scene of closure, the moral climax plays out as it should. I certainly see why Leo earned a Best Actress nomination (and went on to win for The Fighter), and director Courtney Hunt also received an Oscar nod for her screenplay, which clarifies that not all who break the law have bad intentions.

Rank: List Runner-Up

© 2015 S. G. Liput

341 Followers and Counting

United 93 (2006)

30 Wednesday Sep 2015

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Another day, another morning, not unlike the ones before,
The sun was shining without warning of the tragedy in store.
Another day of normal business, little slated to befall,
The kind to sink into the past without a reason to recall.

Some went about their own routines and kissed their families goodbye,
No knowledge of the future scenes to note suspicion in the sky.
Some woke to smoke and disbelief at holes in buildings unforeseen,
And average folk observed in grief the horrors on their TV screen.

A few of those who woke that day believing they’d have many more,
Above the fields of Pennsylvania, heard the early sins of war.
They perished there as victims of a sudden sorrow we regret,
But challenged it as selfless heroes whom we never will forget.
________________

MPAA rating: R

After hearing so many positive reviews of United 93, I decided I ought to watch it myself, and though I had hoped to see it around the anniversary of 9/11, its power doesn’t rely on when it is seen. Many films based on history try to recreate events accurately, but even if they avoid anachronisms and errors, they rarely transcend their status as a re-creation. Even with historical films I love like Titanic and Chariots of Fire, the presence of recognizable stars, artistic license, and that Hollywood polish belie the fact that I am watching a movie. United 93 is one of the few films that suspended that understanding and temporarily convinced me that I could be watching real events.

Obviously this was the goal for director Paul Greengrass (Captain Phillips), who purposely employed hand-held cameras for their realism and chose unknown actors or, in the case of the ground crews, many of the actual flight controllers who were working on September 11, 2001. The events of 9/11 are widely known, and by focusing on one plane’s story, the film never lets us forget that the viewer is watching a tragedy in progress. Because United Airlines Flight 93 was the only plane where the passengers fought back, its story is clearly the most dramatic in nature, yet its narrative is as convincing as a documentary and never feels theatrical.

From the time of the plane’s takeoff, events play out in real time. Normal people go about their business, making phone calls, taking pills, ordering breakfast, chatting about their kids, and ignoring the four overly silent Arabs who board Flight 93 out of Newark. Because we all know what will happen, the tension builds naturally, as reports come in of American 11 and United 175, which targeted the World Trade Center before Flight 93 had even been hijacked. Realistic interchanges between the air traffic controllers in different cities and the military reflect the confusion of that day, along with all the fear and uncertainty. When the awaited hijacking actually does happen, the tension and anticipation reset as the hostages, like the terrorists before, wait for the right moment to make their move. Difficult decisions and teary phone calls and desperate prayers are made, and even though I knew the outcome, the film made me hope and believe that the passengers might be successful.

Perhaps the most affecting scene is the glimpse we get of the field near Shanksville, Pennsylvania, where the plane crashed. On one of our vacations, my mom and I visited the Flight 93 National Memorial there and walked along the wall of names and saw the boulder that marks the impact point. It was cold and nearly deserted at that time of day, but I got a sense of the importance and grief behind the memorial. Though the film doesn’t even attempt to name the passengers, I felt United 93 only deepened my admiration and sorrow for these fallen heroes who never planned to be heroes.

Best line: (flight attendant Sandra Bradshaw, making a heartbreaking phone call) “But, baby, I promise you, if I get out of this, I’m quitting tomorrow. I’ll quit tomorrow. I promise, I’ll quit tomorrow.”

Rank: List-Worthy

© 2015 S. G. Liput

340 Followers and Counting

My Top Twelve Quotes That No One Seems to Remember

27 Sunday Sep 2015

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In centuries past, people memorized poetry, but sadly that practice has fallen by the wayside. So how do we nowadays express our knowledge of entertainment and culture? Movie quotes, that’s how. Everyone has a favorite, and there is no shortage of lists and rankings for the great ones. For people like me who enjoy film quotes enough to read this post, there are many that have wormed their way into our everyday dialogue. I can’t remember how many times I’ve heard or said things like “Game over, man. Game over!” or “What we have here is failure to communicate” or “I’ll be back” or “As you wish” or “I love the smell of bacon in the morning.” Yeah.

Yet there are just as many great quotes that don’t get as much recognition. They often come from specific personal favorites or might just be underrated gems hidden among a film’s more famous lines. Either way, these are quotes that usually serve as inside jokes among the few who know them. Typically, when I employ them outside the family circle, people have no idea what I’m quoting, and I think it’s about time these lines get the attention they deserve. Many of these I remembered offhand, but others only came to mind after several days of waiting for someone to spit them out subconsciously.

To test just how unknown these lines are, I’ve set this list up as somewhat of a game. You can scroll down to read each quote and try to identify its source before going down a little further for the answer.

Something tells me these aren’t all obscure, but I never see them on other lists and I do get a kick out of using them. What are your favorites?

 

  1. “And we’re walking, and we’re walking…”

 

 

 

Dave – I’ve always enjoyed this political romantic comedy, in which Kevin Kline must take the place of his doppelganger President and falls in love with the First Lady (Sigourney Weaver). For some reason, though, the scene that always sticks in my mind is Bonnie Hunt’s cameo, in which she leads a tourist group through the White House. The perfect line for leading someone or just, you know, walking.

 

  1. “It is time. Oooooh!”

 

 

 

Heart and Souls – A childhood favorite of mine, Heart and Souls followed four dead souls completing their unfinished business through their human friend/vessel (Robert Downey, Jr.). What else would you expect a ghostly bus driver (David Paymer) to say when he drives through a wall to reclaim the wayward souls? His own personal sound effect adds to this line’s appeal. Perfect for announcing the time.

 

  1. “You swear?”

“Every damn day.”

 

 

 

The Mummy – I love Brendan Fraser’s heroic Rick O’Connell in this action horror remake. This particular line is so quick that most viewers probably didn’t even notice it, but when Evie (Rachel Weisz) demands reassurance with the question above, he delivers the perfect answer. I’m not a fan of swearing, but I always laugh at that line. Perfect for whenever someone asks you to swear.

 

  1. “This is a very interesting situation!”

 

 

 

It’s a Wonderful Life – Properly said in your best Jimmy Stewart impression, this quote is ideal for when your sweetheart is naked in a bush and you’re holding the only robe in sight. The look on his face is priceless too. Perfect for just about any remotely interesting situation.

 

  1. “I like that boulder. That’s a nice boulder.”

 

 

 

Shrek – When Donkey has to come up with something nice to say about Shrek’s swamp, a boulder is the best thing he can praise. This line may be referencing something else, but I have no idea what it is. Just replace the word “boulder,” and this line is perfect for complimenting anything.

 

  1. “It was real, and it was great, and it was really great.”

 

 

 

Elizabethtown – When Drew (Orlando Bloom) tries to reconnect with sort-of girlfriend Ellen (Jessica Biel), she lets him down easy with this should-be classic line. Other memorable quotes from this Cameron Crowe favorite of mine include “You failed, you failed, you failed” and “I’m going to miss your lips and everything attached to them.” This #7 pick, though, is perfect for breaking up or generally taking your leave of someone.

 

  1. “You’re right. You’re right. I know you’re right.”

 

 

 

When Harry Met Sally… – This classic rom com has a preponderance of quotable material, from “I’ll have what she’s having” to Billy Crystal’s “pepper in my paprikash” spiel. Honestly, this one flew under my radar for a long time until my VC pointed it out and employed it regularly, just like Carrie Fisher every time Meg Ryan points out that her lover will never leave his wife. Perfect for admitting you’re wrong with no intention of changing.

 

  1. “Aye, I could do that.” (with Scottish accent)

 

 

 

The Lord of the Rings: The Return of the King – As my favorite movie (series?) ever, Peter Jackson’s Lord of the Rings has had a subconscious effect on my speech patterns. Instead of “Not today,” I say “Not this day!” Instead of “cook potatoes,” I say “Boil ‘em, mash ‘em, stick ‘em in a stew.” Not to mention, “What say you” and “You will suffer me!” Yet I’ve noticed this final film quote from Gimli (John Rhys-Davies) creeping into my conversations a lot lately. Perfect for agreeing to die with a friend or agreeing to anything really.

 

  1. “Three hours later…” (with fake French accent)

 

 

 

SpongeBob SquarePants – Okay, so this is from a TV show, but I never said this list was just movies. Used as a running gag on Nickelodeon’s overly long-running kids show (which stretched back to my childhood), this line is utilized by the French narrator whenever a period of time passes. It might be “Three hours later” or “One eternity later” or “So much later that the old narrator got tired of waiting and they had to hire a new one.” Perfect for waiting or practicing fake French accents.

 

 

  1. “Helloooooo!” (as high and drunk-sounding as possible)

 

 

 

Miracle on 34th Street – My mom and I especially love this scene of the original Christmas classic, in which Mr. Shellhammer (Philip Tonge) gets his wife drunk enough to let Santa Claus move in with them. She’s so snockered that she can’t hold the phone right and answers it hilariously. My mom also likes to use her follow-up line “I think that would be simply charming!” This is one inside joke that insiders will love swapping, but everyone else will think you’re nuts. Perfect for answering the phone and maybe scaring off telemarketers.

 

  1. “How dare he!” (with fake Scottish accent)

 

 

 

Indiana Jones and the Last Crusade – This is one I use a lot, and not even those who know about it recognize it every time. Surely, you remember the scene where Jones enters the Nazis’ castle in disguise, only for the butler to insist, “If you are a Scottish lord, then I am Mickey Mouse!” Indy’s next line doesn’t get enough credit, though, as he utters “How dare he!” before punching the guy out. It’s a great scene and a perfect line for even the slightest offense.

 

  1. TIE

“There are many moods of Ben.” and

“He has an empty space.” and

“Look, it’s mouse on a stick. I love mouse on a stick!”

 

 

 

Stuart Little – I haven’t seen this kids’ film in a while, but it’s easy to forget how quotable it is. The “many moods of Ben” gets the most use at my house, where it can apply to anyone who has varied tastes or is just moody. “There are many moods of Joe or Sarah or me, etc.” The second is great for overly emotional acknowledgements that something is wrong, and the third just makes me laugh every time. That “mouse on a stick” line is uttered by a random hungry cat when Stuart is hanging from a tree branch and is perfect whenever I see or eat anything on a stick (which isn’t as often as I would like).

 

Below are a bunch of other film quotes that my family uses or that we just enjoy more than most:

 

“Keep your pantyhose on!” – The Abyss (My mom uses this line a lot more than I do.)

“Lord, I’d just like to thank You for that waitress in South Bend. You know who she is – she kept calling Your name.” – A League of Their Own (Yeah, no comment.)

“We’re talking…big.” – Baby Boom (Best used with an accompanying expanding hand gesture and perfect for any big event.)

“Last night, Darth Vader came down from Planet Vulcan and told me that if I didn’t take Lorraine out, that he’d melt my brain.” – Back to the Future (I love it.)

“Never trust a man who puts his hands in your mouth.” – Doc Hollywood (I haven’t yet found the right situation to use this line effectively.)

“You want it. You got it. Toyota.” – Forget Paris (Perfect for saying over and over to annoy someone.)

“You’ve attacked an innocent dwarf.” – Foul Play (Perfect for…I have no idea, but it’s funny.)

“Sometimes there just aren’t enough rocks.” – Forrest Gump (Just one bit of wisdom among many more famous ones, and very true.)

“Everything else was lost in the explosion.” – Funny Farm (Perfect for scaring people into thinking there was an explosion.)

“Is it safe?” – Good Eats/Marathon Man (I know this is a famous line from Marathon Man, but I heard it first on Good Eats, a funny cooking show with lots of movie references.)

“Hold onto your butts.” – Jurassic Park (Perfect for preparing yourself for the worst.)

“It comes in pints?” – The Lord of the Rings: The Fellowship of the Ring (Perfect for commenting on the availability of pints.)

“Shall we?” – Monsters, Inc. (Sure, this line was in Sleepless in Seattle too, but I always say it like Mike does after they catch Waternoose in the act.)

“Well, that didn’t work.” – Phineas and Ferb, the pilot episode (Another TV cartoon, but I use this line more often than I care to admit. Perfect “oops” line instead of cussing and screaming when you mess up, or maybe just to sound calm after the screaming.)

Miguel: “Well, don’t blame me.” Tulio: “I BLAME you!” – The Road to El Dorado (A great exchange between Kenneth Branagh and Kevin Kline.)

“Have you tried staples?” – Scrooged (Perfect for attaching antlers to a mouse.)

“Arizona, maybe” and “Little bit jumpy” and “Terrific!” with an OK gesture – Starman (My favorite John Carpenter movie has lots of great quotes.)

“Red light stop, green light go, yellow light go very fast.” – Starman again (Told you; perfect for explaining why you run through yellow lights.)

“Wesa going home!” – Star Wars Episode I: The Phantom Menace (Say what you will about Jar Jar Binks, but he did give me this line, perfect for whenever you’re headed home.)

“I am a lone reed.” – You’ve Got Mail (A great confidence builder from a perfect rom com.)

 

 

Source Code (2011)

20 Sunday Sep 2015

Posted by in Movies, Poetry, Reviews, Writing

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Time moves forward, onward toward
A future none can change or guess,
A train that all must get aboard
And some debark with suddenness.

But what if one could board again
To pick up pieces not yet broke,
To change the now before it’s then,
To douse the fire before the smoke?
____________

Rating: PG-13

 

Have you ever noticed a movie that you immediately wanted to see because you could tell solely from the trailer or the premise that you would like it but for some reason or other you just never got around to seeing it even years after it came out? That never happens, right? Well, that’s what happened with me and Source Code, but finally I saw it and found it to be exactly the kind of film I was hoping for and expecting: fast-paced, compelling, and mind-challenging.

When Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of random commuter Sean Fentress on his way to Chicago, he is shocked at having no memory of how he got there and even more shocked when the train explodes and kills him. Next, he wakes up somewhere else and is told he is part of a secret government experiment for “time reassignment,” which can repeatedly give him the last eight minutes of Fentress’ life in order to figure out the identity of the bomber. Instructed by a sympathetic adviser (Vera Farmiga) and the demanding creator of this Source Code technology (Jeffrey Wright), Stevens returns to the train, where every passenger is a suspect and every repeat reveals something new.

If it seems like a mix of Quantum Leap and Groundhog Day, well, it is, and there’s not a thing wrong with that. I love the concepts of both, and fusing the two was what initially attracted me. Yet as easy as it might be to write the film off as unoriginal, Source Code takes some unexpected turns that not only question the morality of Stevens’s situation but bend its sci-fi idea to turn a no-win scenario into an oddly satisfying ending. (My VC was of a different mind and felt the ending was too unbelievable to be fulfilling.)

Throughout it all, Gyllenhaal provides a surprisingly emotional performance through his eight-minute missions, and the mystery was both enjoyable and urgent. (It was cool how the filmmakers incorporated Quantum Leap’s Scott Bakula for a brief but significant unseen role.) There are certainly unanswered questions, such as the overcomplicated details of how the Source Code actually works and what happens to the real Sean Fentress every time Stevens jumps into him. Nevertheless, like Groundhog Day, Source Code overcomes all its repetition and deserves multiple viewings; just remember, “everything is going to be okay.” Here’s a funny parody from MAD that made me want to see it even more:

 

Best line: (Stevens) “Christina, what would you do if you knew you had less than one minute to live?” (Christina, a fellow passenger) “I’d make those seconds count.”

 

Rank: List-Worthy

 

© 2015 S. G. Liput

340 Followers and Counting