Girlfriend, don't get me started on cafes. I love cafes. Give me a latte, anything from the bakery and some soft but lively music churned into the low hum of regulars mewling over humdrum life events, and you will be giving me a shot of happiness. Cafe culture is my forte; I live for cafes. And though Fire City is not a purveyor to the sauntering lifestyle (to which cafes typically cater), it does try hard to pretend. Isn't that what this city is about? Pretending? And thus, it has a high number of cafes stationed county-wide, albeit far apart.
LITERATI CAFE in Yupwood is a new discovery of mine. After it had been recommended to me by a number of friends, I looked it up and realised it was down the street from my place of business. I fancied a stop-in. I've been there twice now, and each time was wonderful. LITERATI is not flawless, however. But would I recommend and revisit? Most definitely.
Having recently undergone a makeover, Literati now inhabits two side-by-side locations. Side A is casual but always crowded, with Ikea-like wooden tables crammed too close together. But there is wi-fi, and the service is quick. Side B is a bit more upscale, more "this-is-strictly-business" lunch. The food items seem a touch more refined, and they are also pricier. I have only eaten on Side A and only during lunchtime. First visit, I had a grilled portabello mushroom panini with melted swiss on focaccia (amazing); second visit, I had carrot ginger soup with a side of Mediterranean salad replete with olives and pine nuts and a splash of house vinaigrette. Are you salivating yet? It's okay. I did, too.
I have yet to try the desserts or the classier end of the half-cafe-half-restaurant, but if the first two tastes are anything to go by, I doubt I could ever be disappointed. Now, I don't know if I could do work at Literati--for a place with that name, it seems a bit too busy for any sort of literary endeavor--but it is on my cafe radar. But when it comes to places to station yourself for an afternoon of laptop time, I think my picks are elsewhere.
the place: 12081 Wilshire Blvd 90025 - (310) 231-7484
the taste: Light, farm-fresh, American organic.
in five: 4/5
dine out: http://www.literaticafe.com/
dimanche 22 mars 2009
ONE SUNSET | dinner
Yes, yes, it's true. Meant to write about this one eons ago. But it's still on the mind, so I thought I'd finally get around to it.
The better part of a month ago, a group of friends and I decided to take advantage of a foodie tradition in Fire City known as Restaurant Week. It's a misnomer, really, as this year's Restaurant Week (which historically lasts a fortnight) actually lasted an entire month. God bless the recession and desperate chefs citywide!
Restaurant Week features some of the best eateries in the city offering prix fixe menus at reduced prices for those who like to scale up when masticating but don't like to part with their hard-earned. Well, I am among that number. So I made a schedule of places to go and things to eat, detailed by cuisine and price, with the intent to eat out at least twice per week for the entire month-long affair.
Alas. Not even this foodie could spare the cash. Luckily, ONE SUNSET was one of the first stops on my still-uncompleted schedule (which, for the record, will remain unfinished indefinitely), so we did make it there, at least. Funny story, though--we didn't do the Restaurant Week menu. Realising upon arrival that we could upgrade for a mere $10 (bringing the meal-sans-drinks total to $45) to the Chef's Tasting Menu, we did that. And boy, what a treat.
From the sweet potato fries to the mac & cheese to the beet salad to the Angus beef sliders (yeah, I didn't eat those--but I did get my own salmon slider, compliments of the chef) to the mushroom flatbread to the fabulous desserts (creme brulee, blueberry bread pudding & red velvet cupcakes!) everything was great. Our server was kind and knowledgeable--and obviously good at her job, seeing as she upgraded us against our intentions--and the ambiance was classy without being pretentious. Perhaps that's because we went on a Thursday night instead of the high-volume Friday or Saturday scenester's dining time. But we were the better for it. Good food was elevated to great thanks to the entire atmosphere of the place. I've already recommended the joint to several friends, none of whom have left hungry or disgruntled, so I say one point to ONE SUNSET. You're not too shabby at all.
the place: 8730 W Sunset Blvd 90069 - (310) 657-0111
the taste: American with a mock-Asian twist.
in five: 3.5/5 (for the fusion factor--you can't score a four if you serve Asian fusion, sorry)
dine out: http://www.onelittlewest12.com/sunset/
The better part of a month ago, a group of friends and I decided to take advantage of a foodie tradition in Fire City known as Restaurant Week. It's a misnomer, really, as this year's Restaurant Week (which historically lasts a fortnight) actually lasted an entire month. God bless the recession and desperate chefs citywide!
Restaurant Week features some of the best eateries in the city offering prix fixe menus at reduced prices for those who like to scale up when masticating but don't like to part with their hard-earned. Well, I am among that number. So I made a schedule of places to go and things to eat, detailed by cuisine and price, with the intent to eat out at least twice per week for the entire month-long affair.
Alas. Not even this foodie could spare the cash. Luckily, ONE SUNSET was one of the first stops on my still-uncompleted schedule (which, for the record, will remain unfinished indefinitely), so we did make it there, at least. Funny story, though--we didn't do the Restaurant Week menu. Realising upon arrival that we could upgrade for a mere $10 (bringing the meal-sans-drinks total to $45) to the Chef's Tasting Menu, we did that. And boy, what a treat.
From the sweet potato fries to the mac & cheese to the beet salad to the Angus beef sliders (yeah, I didn't eat those--but I did get my own salmon slider, compliments of the chef) to the mushroom flatbread to the fabulous desserts (creme brulee, blueberry bread pudding & red velvet cupcakes!) everything was great. Our server was kind and knowledgeable--and obviously good at her job, seeing as she upgraded us against our intentions--and the ambiance was classy without being pretentious. Perhaps that's because we went on a Thursday night instead of the high-volume Friday or Saturday scenester's dining time. But we were the better for it. Good food was elevated to great thanks to the entire atmosphere of the place. I've already recommended the joint to several friends, none of whom have left hungry or disgruntled, so I say one point to ONE SUNSET. You're not too shabby at all.
the place: 8730 W Sunset Blvd 90069 - (310) 657-0111
the taste: American with a mock-Asian twist.
in five: 3.5/5 (for the fusion factor--you can't score a four if you serve Asian fusion, sorry)
dine out: http://www.onelittlewest12.com/sunset/
samedi 21 mars 2009
TAKEN
The long and short of it is that Liam Neeson took me by surprise (ba-dum-ching!).
I love French films. And this film, despite being helmed by an Irish actor, is French, through and through. Produced by Luc Besson. Financed by most of Europe. Takes place in Paris. Has on-the-nose dialogue that makes you kinda go, "Oookay, is this written badly...or is it written so well it feels bad?"
Ha. That's a trick question. And the answer is, "It's actually a mix of both."
Revolving around the violent kidnapping of a dumb-as-nails, pre-college Daddy's girl in the city of love, TAKEN offers enough action to make up for the mediocre dialogue. Who says older men can't still pack a punch? Liam is definitely still in fine form (thank you, editors), and he is a star. TAKEN will have you tense and riveted as you watch the dad you wish you had tear shit up to get his daughter back. That's unconditional love.
I've always been a fan of Mr. Neeson. From ETHAN FROME (creepy!) to LOVE, ACTUALLY (adorable!) to GUNSHY (so weird!), I find that whatever movie he's in, I like to see him. So if you haven't seen it yet, consider TAKEN and soon. There's a reason why it stayed in the box office top five for over a month. It's worth the rush.
the plot: "Forget it, Kidnapper. It's Liamtown."
the thought: Can classes teach those tricks?
in five: 4/5
get taken: http://www.takenmovie.com/
I love French films. And this film, despite being helmed by an Irish actor, is French, through and through. Produced by Luc Besson. Financed by most of Europe. Takes place in Paris. Has on-the-nose dialogue that makes you kinda go, "Oookay, is this written badly...or is it written so well it feels bad?"
Ha. That's a trick question. And the answer is, "It's actually a mix of both."
Revolving around the violent kidnapping of a dumb-as-nails, pre-college Daddy's girl in the city of love, TAKEN offers enough action to make up for the mediocre dialogue. Who says older men can't still pack a punch? Liam is definitely still in fine form (thank you, editors), and he is a star. TAKEN will have you tense and riveted as you watch the dad you wish you had tear shit up to get his daughter back. That's unconditional love.
I've always been a fan of Mr. Neeson. From ETHAN FROME (creepy!) to LOVE, ACTUALLY (adorable!) to GUNSHY (so weird!), I find that whatever movie he's in, I like to see him. So if you haven't seen it yet, consider TAKEN and soon. There's a reason why it stayed in the box office top five for over a month. It's worth the rush.
the plot: "Forget it, Kidnapper. It's Liamtown."
the thought: Can classes teach those tricks?
in five: 4/5
get taken: http://www.takenmovie.com/
jeudi 19 mars 2009
Girl's Best Friend: 'I Love You, Man' versus 'Duplicity'
**This article also appears on RopeofSilicon.com.**
This week, we've got a special serving of cinematic romance. First course is the Julia Roberts-Clive Owen starrer, Duplicity, which unites the two familiar hotties for the first time since 2004's Closer, a much darker character study that involved the awkward line, "He tasted like you but sweeter." In Duplicity, the two are con artists in cahoots to scam big who instead end up gaming each other, simply for the sweet pursuit of extended screen time and hijinks. The film is starting to be called a test to see if Julia, who has been raising a child and playing house for a while now, can still hold a box office ransom with her smile. Reviews so far are middling to favorable; I'm sure Mrs. Moder will do quite fine.
But our weekend meal doesn't stop there. Second course is a helping from a platter that's gotten very popular over the last few years--the guy's chick flick. The gick flick, if you will. Well, wait--just did a Google search, and apparently 'gick' is Irish slang for 'shit.' I guess we need a new name...how about Mangina Movie? Defining it now: a MANGINA MOVIE (man + vagina + movie) is a comedic chick flick made for guys. In short, it focuses on a male lead having female problems and overcoming them using both typical female and uncustomary male wiles. In long, it also usually has the crass humor and off-color set pieces that guys tend to enjoy in standard comedies coupled with a love story that guys and girls alike can appreciate. After watching once, men can re-watch mangina movies ad infinitum, claiming they "loved the jokes," when really, a little part of them blossoms into happiness every time they see their bumbling hero learn to love by credits' end.
40 Year Old Virgin is a mangina movie. Knocked Up is a mangina movie. So is Anchorman; so is Superbad...in fact, almost anything produced by Judd Apatow and/or featuring Paul Rudd = MANGINA MOVIE. (And though it doesn't fit this rule: Wedding Crashers? Full of mangina.) But they are all--every single one of them--fantastic. Utterly and almost unerringly lovable. That includes this week's plate #2: I Love You, Man (no, not produced by Apatow but yes, featuring Mr. Yaeger-né-Rudd).
Why she might want to see Duplicity: It's the British lover syndrome. A girl can but dream (and if she closes one eye, hey, maybe Clive is speaking just to her).
Why you might want to see I Love You, Man: Are you kidding? Paul Rudd finally getting a real chance to carry a comedy, and then there are fart jokes, and there's Lou Ferrigno, and there's a little dog, some guitar playing and a masturbation chair, plus Jon Favreau talking dirty to Jaime Pressley, not to mention the shrimp joke from the trailer, and the hot-dog eating and the male bonding, and the pet names and the, the, the...MANGINA.
Why you should both see both: I'll give you five reasons.
1. Who doesn't love a double-feature?
2. So you can both appreciate the term 'slapping the bass'
3. You've both wondered what became of that Mr. and Mrs. Smith sequel
4. Jason Segal & Tom Wilkinson, respectively
5. You were already seventeen once...so do you really want to see 17 Again?
Really, it isn't--and shouldn't be--a contest. There haven't been too many weekends (if any yet) this year that featured multiple, agreeable popcorn flicks that both sexes can enjoy. I'm excited to see Duplicity, and having already seen I Love You, Man, I can tell you that movie is FUNNY. So go. Run, I say. And start early: many theatres offer recession-friendly prices for first showings of the day, even on the weekends.
Now, if you're feeling really ambitious, I would encourage a look at that Zac Efron flick. It looks cute, he is cute, and the movie is family-friendly. But warning: I can't promise it's mangina-free.
There's something about March. When it comes to taking out that special ladybird, there are usually just as many girlie movies that get released in March as during the month of love. But it's sunnier outside, a little bit warmer. And you don't have to buy a diamond necklace to compliment those ticket stubs. I'd guess men with better halves dig this month more than February. So if you're planning on a date at the cinema to celebrate the other month of love, let this be your one-stop guide to choosing the right chick flick: your girl’s best friend (and your guilty pleasure).
This week, we've got a special serving of cinematic romance. First course is the Julia Roberts-Clive Owen starrer, Duplicity, which unites the two familiar hotties for the first time since 2004's Closer, a much darker character study that involved the awkward line, "He tasted like you but sweeter." In Duplicity, the two are con artists in cahoots to scam big who instead end up gaming each other, simply for the sweet pursuit of extended screen time and hijinks. The film is starting to be called a test to see if Julia, who has been raising a child and playing house for a while now, can still hold a box office ransom with her smile. Reviews so far are middling to favorable; I'm sure Mrs. Moder will do quite fine.
But our weekend meal doesn't stop there. Second course is a helping from a platter that's gotten very popular over the last few years--the guy's chick flick. The gick flick, if you will. Well, wait--just did a Google search, and apparently 'gick' is Irish slang for 'shit.' I guess we need a new name...how about Mangina Movie? Defining it now: a MANGINA MOVIE (man + vagina + movie) is a comedic chick flick made for guys. In short, it focuses on a male lead having female problems and overcoming them using both typical female and uncustomary male wiles. In long, it also usually has the crass humor and off-color set pieces that guys tend to enjoy in standard comedies coupled with a love story that guys and girls alike can appreciate. After watching once, men can re-watch mangina movies ad infinitum, claiming they "loved the jokes," when really, a little part of them blossoms into happiness every time they see their bumbling hero learn to love by credits' end.
40 Year Old Virgin is a mangina movie. Knocked Up is a mangina movie. So is Anchorman; so is Superbad...in fact, almost anything produced by Judd Apatow and/or featuring Paul Rudd = MANGINA MOVIE. (And though it doesn't fit this rule: Wedding Crashers? Full of mangina.) But they are all--every single one of them--fantastic. Utterly and almost unerringly lovable. That includes this week's plate #2: I Love You, Man (no, not produced by Apatow but yes, featuring Mr. Yaeger-né-Rudd).
Why she might want to see Duplicity: It's the British lover syndrome. A girl can but dream (and if she closes one eye, hey, maybe Clive is speaking just to her).
Why you might want to see I Love You, Man: Are you kidding? Paul Rudd finally getting a real chance to carry a comedy, and then there are fart jokes, and there's Lou Ferrigno, and there's a little dog, some guitar playing and a masturbation chair, plus Jon Favreau talking dirty to Jaime Pressley, not to mention the shrimp joke from the trailer, and the hot-dog eating and the male bonding, and the pet names and the, the, the...MANGINA.
Why you should both see both: I'll give you five reasons.
1. Who doesn't love a double-feature?
2. So you can both appreciate the term 'slapping the bass'
3. You've both wondered what became of that Mr. and Mrs. Smith sequel
4. Jason Segal & Tom Wilkinson, respectively
5. You were already seventeen once...so do you really want to see 17 Again?
Really, it isn't--and shouldn't be--a contest. There haven't been too many weekends (if any yet) this year that featured multiple, agreeable popcorn flicks that both sexes can enjoy. I'm excited to see Duplicity, and having already seen I Love You, Man, I can tell you that movie is FUNNY. So go. Run, I say. And start early: many theatres offer recession-friendly prices for first showings of the day, even on the weekends.
Now, if you're feeling really ambitious, I would encourage a look at that Zac Efron flick. It looks cute, he is cute, and the movie is family-friendly. But warning: I can't promise it's mangina-free.
mercredi 18 mars 2009
BETTER OFF TED: Preview
This show officially has struck my fancy. Who says there aren't good mid-season replacements?
mercredi 11 mars 2009
Blockbuster Stimulus Package
What a sad/annoying thing it is to try and find a Blockbuster during a recession. They're dropping like flies! I didn't notice it at first, but on my latest look around the street corner, I saw nothing but empty windows. And a sign. "This location has closed."
In an attempt to raise the revenue of the Blockbuster further down the street, I launched into rental mode again. First up was the film noir that informed the OG I wrote about last week, BRICK. I was a mite bit embarrassed that I had alluded to CHINATOWN in my writing but actually had never seen it, so it was time, for Blockbuster's sake and for mine, to remedy that.
CHINATOWN
plot: Water and murder under the bridge.
thought: Is Chinatown really that shady?
in five: 4/5
whose your daughter?: http://www.imdb.com/title/tt0071315/
I watched CHINATOWN with my friend Tivo, who suggested following it up with the mid-nineties, we-heard-it-was-a-classic BOONDOCK SAINTS. I love-love-love RESERVOIR DOGS and PULP FICTION, both of which were referenced on the back of BOONDOCK's dvd case, so I had high hopes. And since I was in an underbelly-of-the-city kind of place, I knew I was in the right mindset. But BOONDOCK....It was weird. It felt like it was trying to be pulpy but was missing the mark. I know that it came out before QT sprayed bullets from the reservoir, so that means it wasn't trying to imitate these works, even though they seemed to beg comparison. So what was the excuse for the kitsch? I couldn't tell if it was supposed to be grindhouse, like bad for the sake of its genre...or if it was just bad.
BOONDOCK SAINTS
plot: Bible-bashers on a killing spree.
thought: Is this a B-movie...or a bad movie?
in five: 2.5/5
pray or be prey: http://www.boondocksaints.com/
We watched MEMENTO next, and it was good as always. But then the darkness was done; I wasn't looking to wallow in crapulance for the whole weekend. For a little bit of light, I went for the film that fell second to ONCE two years ago--because apparently, you only can have one indie movie starring the musically talented per Awards Season.
AUGUST RUSH
plot: Boy prodigy searches for parents.
thought: Robin Williams exploits children...weird.
in five: 2.5/5 for the movie, but 3/5 for the music
music time: http://augustrushmovie.warnerbros.com/
What's up next, you ask? Well, renting from Blockbuster costs more than it used to, so I'll resort to the DVDs around the apartment for my next rental special. Here's to hoping the entire movie store chain doesn't crumble without my love.
In an attempt to raise the revenue of the Blockbuster further down the street, I launched into rental mode again. First up was the film noir that informed the OG I wrote about last week, BRICK. I was a mite bit embarrassed that I had alluded to CHINATOWN in my writing but actually had never seen it, so it was time, for Blockbuster's sake and for mine, to remedy that.
CHINATOWN
plot: Water and murder under the bridge.
thought: Is Chinatown really that shady?
in five: 4/5
whose your daughter?: http://www.imdb.com/title/tt0071315/
I watched CHINATOWN with my friend Tivo, who suggested following it up with the mid-nineties, we-heard-it-was-a-classic BOONDOCK SAINTS. I love-love-love RESERVOIR DOGS and PULP FICTION, both of which were referenced on the back of BOONDOCK's dvd case, so I had high hopes. And since I was in an underbelly-of-the-city kind of place, I knew I was in the right mindset. But BOONDOCK....It was weird. It felt like it was trying to be pulpy but was missing the mark. I know that it came out before QT sprayed bullets from the reservoir, so that means it wasn't trying to imitate these works, even though they seemed to beg comparison. So what was the excuse for the kitsch? I couldn't tell if it was supposed to be grindhouse, like bad for the sake of its genre...or if it was just bad.
BOONDOCK SAINTS
plot: Bible-bashers on a killing spree.
thought: Is this a B-movie...or a bad movie?
in five: 2.5/5
pray or be prey: http://www.boondocksaints.com/
We watched MEMENTO next, and it was good as always. But then the darkness was done; I wasn't looking to wallow in crapulance for the whole weekend. For a little bit of light, I went for the film that fell second to ONCE two years ago--because apparently, you only can have one indie movie starring the musically talented per Awards Season.
AUGUST RUSH
plot: Boy prodigy searches for parents.
thought: Robin Williams exploits children...weird.
in five: 2.5/5 for the movie, but 3/5 for the music
music time: http://augustrushmovie.warnerbros.com/
What's up next, you ask? Well, renting from Blockbuster costs more than it used to, so I'll resort to the DVDs around the apartment for my next rental special. Here's to hoping the entire movie store chain doesn't crumble without my love.
vendredi 6 mars 2009
Overlooked Greatness: 'Brick' (2005)
**This article also appears on RopeofSilicon.com.**
This just in: Jonas Brothers: The 3D Concert Experience has underperformed. Expected to make in the area of $30 million, the 3D picture that thought it could has come in at just under $13 million. Now, since it has been heralded as a “concert experience,” I’m not sure if it really qualifies as a movie…but hearing about this sad, un-Miley-like box office implosion, I started wondering to myself: What happened to movies with teen themes? Can’t Hardly Wait…She’s All That…Boys and Girls. The American Pie franchise has been relegated to DVD reprisal, and last I heard, 10 Things I Hate About You is now in development to become a TV series…which seems weird.
Well, here’s what I think happened to movies primarily featuring teen storylines: they sucked. Oh, that might seem like a harsh conclusion—I watched and loved them all, I’ll admit—but what I really mean is that they cloned each other and subsequently became forgettable. That sucks. Road Trip is to Euro Trip what Hannah Montana is to The Brothers Jonas.
The teen films that stand the test of time, you’ll note, are the unique originals, the trailblazers. By nature of the field, however, it’s hard to get uber-original. How many ways can you show puberty reeling its slightly horny head before you’re hips-deep in pie again? Filmmakers must decide to veer off the beaten (get it?) path or risk Death by Duplication. Luckily, Rian Johnson’s wonderful little indie, Brick, has already beaten the seldom explored teen mystery genre—and challenged future noir mysteries in general. Brick, effectively, has blazed the trail, and left nothing but awed soot in its wake. Here’s how:
1.) Noir Factor: Brick is black, black, black, and that is so, so good. With a heavy nod to Polanski’s Chinatown, this film’s aesthetic intensity captivates. If for some reason, your TV speakers break but the image is working fine, know this: you could still watch and enjoy Brick. Can’t do that with Can’t Hardly Wait. With a focus on detective novels like The Maltese Falcon, first-time screenwriter Rian Johnson started his teen detective tale as a novella of sorts, where main character, Brendan, plays our Sam Spade. But in his evident devotion to the genre, Johnson ripped the American detective story in two, creating dual levels: the narrative level, where a “who dunnit?” is solved, and the thematic level, where we, the viewers, explore the effects of teen drug culture in American suburbia. The lens is his paintbrush, and the paint is dark, twisty and beautiful on the big screen canvas.
2.) JGL Factor. That would be Joseph Gordon-Levitt. Yeah, that kid from “Third Rock from the Sun.” You know, I first saw JGL (who I also like to refer to as “Hotness Walking”) in Holy Matrimony opposite Patricia Arquette when I was about 10 years old. I remember thinking to myself, “That kid will one day be Hotness Walking.” He was talented then, as a Hutterite on the verge of arranged marriage, and he has only grown. JGL is a man who rarely disappoints. I will see anything he’s in, because he chooses riveting work and plays his roles with mind-bending intensity. Yeah, even on “Third Rock from the Sun,” and again in that teen number, 10 Things I Hate About the Fact that 10 Things I Hate About You Might Become a TV Show (we can discuss that later). His body of work has been described as “acclaimed and underseen,” and you know what, Boston Herald, I agree with you. Because if Joseph Gordon-Levitt says he’s an alien, I believe him. He says he’s a nerd, I believe him. He says he’s mentally challenged, a prostitute, physically disabled or—in this case—a teenage detective out to avenge his missing girlfriend; I believe him. His presence alone will draw you in.
3.) Addictively indie. Much like this year’s Best Picture Oscar winner, Slumdog Millionaire (and many other movies, might I add) Brick tread a long path to the big screen. With Slumdog, Danny Boyle and his team achieved what others would never have attempted to try on $7 million. Originally penned in 1996, Brick took nearly ten years to hit the art house circuit, and that was after being whittled down to a $475,000 budget! They faked the special effects with a bit of creativity and edited the rest like mad. After all that, the writer still was able to work out a deal with Fox Searchlight, the distributor, and hence to this day, he offers his entire, annotated shooting script for anyone to read and download online. That’s right: “Free on the internet.” That is so indie, it’s like listening to Radiohead and Fleet Foxes at the same time. You gotta respect a filmmaker who honors the unspoken artist’s covenant: though shalt share thine art—at any cost.
4.) The name game. You know you’re really floating in a pool of noir once you encounter a character that goes by something like “Acey,” “Sonny” or by “The [Insert Noun]” in an already dark film. Well, Brick has “The Brain,” JGL’s partner in solving crime, and “The Pin,” our post-teen, bad guy extraordinaire. Five minutes in, and you’ll guess right away: Something’s up, and it ain’t what you thought. Though our lead is simply “Brendan,” the softness of that name defines him entirely: he’s in this for love, and love will put up a fight. Other character names do not disappoint, however. There’s also Tug (bad guy) and Dode (bad guy) and a slew of knick-names for outliers, like “Dangle” and “Flatfoot.” Between these names and the stylized, genre-loving dialogue, it’s almost hard to keep up with the plot. But don’t worry: this is a movie you’ll want to see twice, so just pick it up on the next viewing. Or read the script for free on the internet!
5.) Score. That is to say, the music tracks. Pays to have a multi-platinum record producer in the family. Brick’s writer, Rian, has that brother—his name is Aaron. But the music talent didn’t stop there. Rian’s cousin, Nathan, reined over this composition. Rumor (read: wikipedia) has it that Brick was scored mostly by way of iChat, i.e., Rian sent clips of his film-in-progress from Los Angeles to his cousin in New York, who scored on the go at the reduced, family rate. With further help from The Cinematic Underground, an indie (natch), alt-rock group, Brick’s score came together. The music in this film is telling and adds to the surreal nature of the action. Again, if your TV choked for a couple hours and all that worked was the sound—put the DVD in anyway. You’ll be alright.
Now some might say that Brick is a little over the top in its noir-ittude. The lingo, the name game, the score, the Hotness Walking…these are all elements that collectively strike a pose as recognizable as Heidi Klum’s on the catwalk. This film is making a statement. And it’s going to hit you over the head with it a little bit. Repeat viewings, however, will reveal that the artistry supporting this statement is fairly intact. And because the man behind Brick also scribed the upcoming The Brothers Bloom (starring Adrien Brody and Rachel Weisz), we can guess that he is not a one-trick pony.
I have yet to see Brothers Bloom, but I’m excited to see the next step in Rian Johnson’s repertoire. Bloom looks like a comedy, which already differentiates it from Brick. I suggest getting your hands on Brick before heading forward, get to know Rian a little. Embrace this journey, and you will feel artistically revitalized afterwards, I can almost guarantee it. You also may never want to watch She’s the Man again. It’s an unfortunate side effect of enlightenment.
This just in: Jonas Brothers: The 3D Concert Experience has underperformed. Expected to make in the area of $30 million, the 3D picture that thought it could has come in at just under $13 million. Now, since it has been heralded as a “concert experience,” I’m not sure if it really qualifies as a movie…but hearing about this sad, un-Miley-like box office implosion, I started wondering to myself: What happened to movies with teen themes? Can’t Hardly Wait…She’s All That…Boys and Girls. The American Pie franchise has been relegated to DVD reprisal, and last I heard, 10 Things I Hate About You is now in development to become a TV series…which seems weird.
Well, here’s what I think happened to movies primarily featuring teen storylines: they sucked. Oh, that might seem like a harsh conclusion—I watched and loved them all, I’ll admit—but what I really mean is that they cloned each other and subsequently became forgettable. That sucks. Road Trip is to Euro Trip what Hannah Montana is to The Brothers Jonas.
The teen films that stand the test of time, you’ll note, are the unique originals, the trailblazers. By nature of the field, however, it’s hard to get uber-original. How many ways can you show puberty reeling its slightly horny head before you’re hips-deep in pie again? Filmmakers must decide to veer off the beaten (get it?) path or risk Death by Duplication. Luckily, Rian Johnson’s wonderful little indie, Brick, has already beaten the seldom explored teen mystery genre—and challenged future noir mysteries in general. Brick, effectively, has blazed the trail, and left nothing but awed soot in its wake. Here’s how:
1.) Noir Factor: Brick is black, black, black, and that is so, so good. With a heavy nod to Polanski’s Chinatown, this film’s aesthetic intensity captivates. If for some reason, your TV speakers break but the image is working fine, know this: you could still watch and enjoy Brick. Can’t do that with Can’t Hardly Wait. With a focus on detective novels like The Maltese Falcon, first-time screenwriter Rian Johnson started his teen detective tale as a novella of sorts, where main character, Brendan, plays our Sam Spade. But in his evident devotion to the genre, Johnson ripped the American detective story in two, creating dual levels: the narrative level, where a “who dunnit?” is solved, and the thematic level, where we, the viewers, explore the effects of teen drug culture in American suburbia. The lens is his paintbrush, and the paint is dark, twisty and beautiful on the big screen canvas.
2.) JGL Factor. That would be Joseph Gordon-Levitt. Yeah, that kid from “Third Rock from the Sun.” You know, I first saw JGL (who I also like to refer to as “Hotness Walking”) in Holy Matrimony opposite Patricia Arquette when I was about 10 years old. I remember thinking to myself, “That kid will one day be Hotness Walking.” He was talented then, as a Hutterite on the verge of arranged marriage, and he has only grown. JGL is a man who rarely disappoints. I will see anything he’s in, because he chooses riveting work and plays his roles with mind-bending intensity. Yeah, even on “Third Rock from the Sun,” and again in that teen number, 10 Things I Hate About the Fact that 10 Things I Hate About You Might Become a TV Show (we can discuss that later). His body of work has been described as “acclaimed and underseen,” and you know what, Boston Herald, I agree with you. Because if Joseph Gordon-Levitt says he’s an alien, I believe him. He says he’s a nerd, I believe him. He says he’s mentally challenged, a prostitute, physically disabled or—in this case—a teenage detective out to avenge his missing girlfriend; I believe him. His presence alone will draw you in.
3.) Addictively indie. Much like this year’s Best Picture Oscar winner, Slumdog Millionaire (and many other movies, might I add) Brick tread a long path to the big screen. With Slumdog, Danny Boyle and his team achieved what others would never have attempted to try on $7 million. Originally penned in 1996, Brick took nearly ten years to hit the art house circuit, and that was after being whittled down to a $475,000 budget! They faked the special effects with a bit of creativity and edited the rest like mad. After all that, the writer still was able to work out a deal with Fox Searchlight, the distributor, and hence to this day, he offers his entire, annotated shooting script for anyone to read and download online. That’s right: “Free on the internet.” That is so indie, it’s like listening to Radiohead and Fleet Foxes at the same time. You gotta respect a filmmaker who honors the unspoken artist’s covenant: though shalt share thine art—at any cost.
4.) The name game. You know you’re really floating in a pool of noir once you encounter a character that goes by something like “Acey,” “Sonny” or by “The [Insert Noun]” in an already dark film. Well, Brick has “The Brain,” JGL’s partner in solving crime, and “The Pin,” our post-teen, bad guy extraordinaire. Five minutes in, and you’ll guess right away: Something’s up, and it ain’t what you thought. Though our lead is simply “Brendan,” the softness of that name defines him entirely: he’s in this for love, and love will put up a fight. Other character names do not disappoint, however. There’s also Tug (bad guy) and Dode (bad guy) and a slew of knick-names for outliers, like “Dangle” and “Flatfoot.” Between these names and the stylized, genre-loving dialogue, it’s almost hard to keep up with the plot. But don’t worry: this is a movie you’ll want to see twice, so just pick it up on the next viewing. Or read the script for free on the internet!
5.) Score. That is to say, the music tracks. Pays to have a multi-platinum record producer in the family. Brick’s writer, Rian, has that brother—his name is Aaron. But the music talent didn’t stop there. Rian’s cousin, Nathan, reined over this composition. Rumor (read: wikipedia) has it that Brick was scored mostly by way of iChat, i.e., Rian sent clips of his film-in-progress from Los Angeles to his cousin in New York, who scored on the go at the reduced, family rate. With further help from The Cinematic Underground, an indie (natch), alt-rock group, Brick’s score came together. The music in this film is telling and adds to the surreal nature of the action. Again, if your TV choked for a couple hours and all that worked was the sound—put the DVD in anyway. You’ll be alright.
Now some might say that Brick is a little over the top in its noir-ittude. The lingo, the name game, the score, the Hotness Walking…these are all elements that collectively strike a pose as recognizable as Heidi Klum’s on the catwalk. This film is making a statement. And it’s going to hit you over the head with it a little bit. Repeat viewings, however, will reveal that the artistry supporting this statement is fairly intact. And because the man behind Brick also scribed the upcoming The Brothers Bloom (starring Adrien Brody and Rachel Weisz), we can guess that he is not a one-trick pony.
I have yet to see Brothers Bloom, but I’m excited to see the next step in Rian Johnson’s repertoire. Bloom looks like a comedy, which already differentiates it from Brick. I suggest getting your hands on Brick before heading forward, get to know Rian a little. Embrace this journey, and you will feel artistically revitalized afterwards, I can almost guarantee it. You also may never want to watch She’s the Man again. It’s an unfortunate side effect of enlightenment.
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