A few years ago NBC aired a drama called “Boomtown.” The Los Angeles set show followed different points of view of police officers, reporters, district attorneys and EMS workers. The show was beloved by critics but struggled to find an audience. After two seasons NBC decided not to pick up the show.
Several years later, one of NBC new spring premieres is “Southland,” another L.A. set cop drama in the same vain as “Boomtown.”
Created by Ann Biderman and the creative minds behind "ER," the show centers on a diverse group of police officers and detectives. The first two episodes are pretty gritty.
The first hour features two shootings, one child kidnapping, a club to the head, and one other greusome demise. The setup of "Southland" is classic: Young LAPD officer Ben Sherman (Ben McKenzie) is out for a training day with experienced Officer John Cooper (Michael Cudlitz), who rags him about his Beverly Hills pedigree while showing him the ropes.
Cooper is one of those crude, rude cops that never seem to go out of style. The guy who makes it his personal mission to harass the rookie, because he believes that people become cops only if they, as he put it, "can't not be a cop."
Meanwhile, detectives Nate Moretta (Kevin Alejandro) and Sammy Bryant (Shawn Hatosy) are investigating the shooting of a young black man by a gang of highly tattooed Latinos. They have plenty of witnesses, just none brave enough to say anything.
In another part of town, a young girl has vanished from in front of her house and detectives Lydia Adams (Regina King) and Russell Clarke (Tom Everett Scott) are greeted by a litter of friends and neighbors, including one young man who seems to be inordinately informed about the missing girl's habits.
They all come together in a climax that answers the doubts of both Sherman and his hard-to-please partner. It's a lot to digest, presented in a no-nonsense fashion; it almost seems like a real life police report, played out on screen.
Creator Biderman isn't looking for a happy story here. "Southland" reaches for the attitude and realism that is the style of recent critically acclaimed shows on network television.
As Cooper so elegantly put is at the beginning of the shows first episode: "You do what they teach you in the Academy, you'll be dead."
One thing that makes the show work is that it feels extremely realistic. The camera follows along scenes in a documentary style way, making the audience feel as if they are riding along during patrols, or chasing a criminal down an alleyway during a fierce shootout.
Mackenzie does a solid job as the rookie officer; he seems poised to strike it big now after breaking out on "The OC" a few years ago. The rest of the cast is also solid, especially King and Cudlitz who both seem as if they could be actual police officers.
"Southland" is well-sprinkled with sharp humor, much of it sarcastic and dark. The show brings the audience into a scary, sunny world where gangs rule the streets and the cops' joking and banter between eachother is the only thing that keeps them sane. Creator/writer Biderman tries to keep the talk between cops as realistic as possible, bleeping out curses and having them say phrases like "badge bunnies."
Some of the characters seem a bit cliché, but with a little time their characters will be fleshed out and may become more interesting.
"Southland" is compelling throughout both episodes. It's exciting, smart and realistic all in one package, which is a rarity on television these days. The gritty location shooting around L.A. adds to the realistic effect of the show, much like some of "24"'s past seasons that took place in L.A.
Through two episodes the ratings of "Southland" have been pretty good, but if the audence stops tuning in, "Southland" could share the fate of former drama "Boomtown."
Monday, June 1, 2009
"Seinfeld" Cast to Reunite
The cast of “Seinfeld” are coming back, but this time it won’t be in Jerry’s apartment.
Jerry Seinfeld, Julia Louis-Dreyfus, Jason Alexander and Michael Richards will be featured in a multiple-episode story arc on HBO’s “Curb Your Enthusiasm” this fall. The series was created by and stars Larry David, who co-created the extremely successful “Seinfeld.”
The appearance will mark the first time that all four actors have appeared together on a scripted television show since “Seinfeld” went off the air nearly 11 years ago.
David also served as the executive producer on “Seinfeld” until he left the show in the seventh season, but he eventually returned to write the finale. He is credited as one of the strongest creative voices behind one of the biggest shows on television.
Thus far, Seinfeld, Louis-Dreyfus and Alexander have all made individual appearances on the show in past seasons, but this will mark Richards’ first appearance on the show.
“Curb” stars David as a post-"Seinfeld" fictionalized version of himself as a self-centered, socially inept, semi-retired multimillionaire living in Los Angeles.
Louis-Dreyfus and Alexander both appeared in separate story arcs that centered on David trying to get the former “Seinfeld” stars to appear on a new show he was developing.
This is also the first time any news has surfaced about a time frame for “Curb Your Enthusiasm’s” return. The season that last aired (season six) ended in 2007 and speculation about season seven has been floating around ever since. One reason for the long gap between seasons was due to David filming the Woody Allen directed “Whatever Works,” which is set in New York City.
No official date has been set yet for the premiere of “Curb’s” seventh season, but HBO says the 10 episode season will air this fall.
The four stars will be playing themselves, keeping with the show’s interesting blend of reality and fiction. Ever since "Seinfeld" went off the air in 1998, there have been ramblings and rumors about a potential reunion of the show’s cast on NBC.
Richards return to the small screen is also notable because he hasn’t done much since his infamous rant at a comedy club over a year ago. He's been in a state of virtual exile, making few appearances outside his home in Beverly Hills.
Few details about the plot are known, but Alexander, in an interview with North By Northwestern magazine, offered some insight. He said that the premise of the story is that the four actors are gathering for a “Seinfeld” reunion episode.
The episodes are currently shooting in Los Angeles and should bring many viewers to the upcoming season of “Curb Your Enthusiasm.”
Jerry Seinfeld, Julia Louis-Dreyfus, Jason Alexander and Michael Richards will be featured in a multiple-episode story arc on HBO’s “Curb Your Enthusiasm” this fall. The series was created by and stars Larry David, who co-created the extremely successful “Seinfeld.”
The appearance will mark the first time that all four actors have appeared together on a scripted television show since “Seinfeld” went off the air nearly 11 years ago.
David also served as the executive producer on “Seinfeld” until he left the show in the seventh season, but he eventually returned to write the finale. He is credited as one of the strongest creative voices behind one of the biggest shows on television.
Thus far, Seinfeld, Louis-Dreyfus and Alexander have all made individual appearances on the show in past seasons, but this will mark Richards’ first appearance on the show.
“Curb” stars David as a post-"Seinfeld" fictionalized version of himself as a self-centered, socially inept, semi-retired multimillionaire living in Los Angeles.
Louis-Dreyfus and Alexander both appeared in separate story arcs that centered on David trying to get the former “Seinfeld” stars to appear on a new show he was developing.
This is also the first time any news has surfaced about a time frame for “Curb Your Enthusiasm’s” return. The season that last aired (season six) ended in 2007 and speculation about season seven has been floating around ever since. One reason for the long gap between seasons was due to David filming the Woody Allen directed “Whatever Works,” which is set in New York City.
No official date has been set yet for the premiere of “Curb’s” seventh season, but HBO says the 10 episode season will air this fall.
The four stars will be playing themselves, keeping with the show’s interesting blend of reality and fiction. Ever since "Seinfeld" went off the air in 1998, there have been ramblings and rumors about a potential reunion of the show’s cast on NBC.
Richards return to the small screen is also notable because he hasn’t done much since his infamous rant at a comedy club over a year ago. He's been in a state of virtual exile, making few appearances outside his home in Beverly Hills.
Few details about the plot are known, but Alexander, in an interview with North By Northwestern magazine, offered some insight. He said that the premise of the story is that the four actors are gathering for a “Seinfeld” reunion episode.
The episodes are currently shooting in Los Angeles and should bring many viewers to the upcoming season of “Curb Your Enthusiasm.”
Bruce Sprinsteen CD Review
After his hard rocking energetic performance at the Super Bowl, Bruce Springsteen is likely to find some new fans. Fortunately for “The Boss,” he has a new album to offer.
Since reuniting the E Street Band in 1999, Bruce Springsteen has brought the lineup to the studio and recorded two critically acclaimed albums. Both ”The Rising,” (2002) and “Magic,” (2007) came from painful inspiration. The first in an effort to heal after Sept. 11 and the other a Bush-era protest. The third E Street album of the new millennium is the best yet.
“Working on a Dream” picks up where “Magic” left off, but is more up-beat and energetic than Springsteen’s previous efforts. Many of the songs reflect the working class Americans that have always populated his lyrics.
The youthful energy of the album's music combines neatly with the truthfulness of Springsteen’s lyrics. ”Working on a Dream” takes the band back to a more domestic and personal feel after the global appeal of the past two records. The songs for the album were written and recorded while the band toured for ”Magic.”
Some of the best songs on the album aren’t the hard rocking, ”Born to Run”-type tracks, but the more simply arranged folk-style recordings. ”The Last Carnival” tells the story of a trapeze artist who has fallen in love with her partner just in time for the carnival’s run to reach its end. The song is melancholy and lonesome, and Springsteen conveys perfectly what it feels like when you are separated from a loved one.
The album's opener, “Outlaw Pete,” is an eight minute folk saga, touching and slightly witty, and it's interesting arrangement of sound is a throwback to the music Springsteen made in the 70s. The tale of a pony stealing cowboy unfolds with rising violins and emotional vocals as Springsteen asks, “Outlaw Pete can you hear me?”
One quality that Springsteen has always possessed is the power to try something different or unusual. ”Good Eye” is an unexpected blues track, with Springsteen alternating between his harsh, deep sounding voice and an intense harmonica. Crafted on top of a loop, the song feels timeless and modern.
“Life Itself” is a song that is both intriguing and disturbing. It’s an ominous tale of love that uses backwards guitar and distorted vocals to reflect what it means. It can be perceived in different ways: Is it a celebration of love, or an admission that it’s inherently dangerous? Springsteen has shown he has the ability to spark some thought and creativity into the mind of his listeners.
The most fully engaged and best song on the album is the final track, “The Last Carnival,” which was written for Danny Federici, the E Street Band’s longtime guitarist who died last year from melanoma. Springsteen is heartfelt and honest as he sings, “We won’t be dancing together on the highwire / Facing the lions with you by my side anymore.”
Another excellent track is the bonus track, ”The Wrestler,” a song written for the movie of the same name, which Springsteen won a Golden Globe for Best Original Song. The song is both haunting and hopeful as Springsteen croons across its melody. It’s rare for a songwriter to bring new life into clichés, but “The Boss” does it with ease. Springsteen uses both a ”one-trick pony” and a ”one-legged dog” in his tale of a man who has no choice but to admit he’s a has-been.
Both familiar fans and newcomers alike will find something worth listening to in this album; be it the fast-paced rock songs and the slower ballads.
Since reuniting the E Street Band in 1999, Bruce Springsteen has brought the lineup to the studio and recorded two critically acclaimed albums. Both ”The Rising,” (2002) and “Magic,” (2007) came from painful inspiration. The first in an effort to heal after Sept. 11 and the other a Bush-era protest. The third E Street album of the new millennium is the best yet.
“Working on a Dream” picks up where “Magic” left off, but is more up-beat and energetic than Springsteen’s previous efforts. Many of the songs reflect the working class Americans that have always populated his lyrics.
The youthful energy of the album's music combines neatly with the truthfulness of Springsteen’s lyrics. ”Working on a Dream” takes the band back to a more domestic and personal feel after the global appeal of the past two records. The songs for the album were written and recorded while the band toured for ”Magic.”
Some of the best songs on the album aren’t the hard rocking, ”Born to Run”-type tracks, but the more simply arranged folk-style recordings. ”The Last Carnival” tells the story of a trapeze artist who has fallen in love with her partner just in time for the carnival’s run to reach its end. The song is melancholy and lonesome, and Springsteen conveys perfectly what it feels like when you are separated from a loved one.
The album's opener, “Outlaw Pete,” is an eight minute folk saga, touching and slightly witty, and it's interesting arrangement of sound is a throwback to the music Springsteen made in the 70s. The tale of a pony stealing cowboy unfolds with rising violins and emotional vocals as Springsteen asks, “Outlaw Pete can you hear me?”
One quality that Springsteen has always possessed is the power to try something different or unusual. ”Good Eye” is an unexpected blues track, with Springsteen alternating between his harsh, deep sounding voice and an intense harmonica. Crafted on top of a loop, the song feels timeless and modern.
“Life Itself” is a song that is both intriguing and disturbing. It’s an ominous tale of love that uses backwards guitar and distorted vocals to reflect what it means. It can be perceived in different ways: Is it a celebration of love, or an admission that it’s inherently dangerous? Springsteen has shown he has the ability to spark some thought and creativity into the mind of his listeners.
The most fully engaged and best song on the album is the final track, “The Last Carnival,” which was written for Danny Federici, the E Street Band’s longtime guitarist who died last year from melanoma. Springsteen is heartfelt and honest as he sings, “We won’t be dancing together on the highwire / Facing the lions with you by my side anymore.”
Another excellent track is the bonus track, ”The Wrestler,” a song written for the movie of the same name, which Springsteen won a Golden Globe for Best Original Song. The song is both haunting and hopeful as Springsteen croons across its melody. It’s rare for a songwriter to bring new life into clichés, but “The Boss” does it with ease. Springsteen uses both a ”one-trick pony” and a ”one-legged dog” in his tale of a man who has no choice but to admit he’s a has-been.
Both familiar fans and newcomers alike will find something worth listening to in this album; be it the fast-paced rock songs and the slower ballads.
Academy Award Recap
In our January 28 issue, Arts & Entertainment editor Matthew Jussim made his predictions for some of the major awards on Oscar night. Let's see how his picks stacked up against the Academy:
Best Supporting Actor:
My Pick: Should/Will win: Heath Ledger
In my opinion this pick was easy. Ledger gave a fantastic performance as the evil, manipulative villain in "The Dark Knight," and no one else (except maybe Josh Brolin) had a shot at winning the award. I also thought the acceptance speech given by Ledgers family was done very tastefully and respecfully. They accepted the award an honest, emotional speech which didn't go on for too long, but they didn't rush off the stage either.
Best Supporting Actress:
My Picks: Should Win: Marissa Tomei, Will Win: Taraji P. Henson
The only category in which neither of my picks went on to win just also happened to be the category with most of the years strongest acting performances. Tomei or Henson in any other year could have easiyl won the award, but it was Penelope Cruz for her sexy, comedic role in Woody Allen's "Vicky Christina Barcelona" who took home the golden statuette. Cruz, who became the first Spanish actress to win an Oscar, was visibly shocked when she came on stage to receive her award. In her unmistakeable Spanish accent she asked, "has anyone ever fainted up her before?"
Best Actress:
My Picks: Should Win: Melissa Leo, Will Win: Kate Winslet.
I think I knew from the beginning that Melissa Leo never had a shot to win this award, but I was hoping that if she did, I would look like some sort of cinema genius for picking her. Kate Winslet beat out powerhouse actresses Meryl Streep and Angelina Jolie for her performance in "The Reader." It was her sixth nomination, which is the most for an actress as young as Winslet (33)
Best Actor
My Picks: Should Win: Mickey Rourke Will Win: Sean Penn
If I could have picked any award to hand out myself it would have been this one. I don't mean to take anything away from Sean Penn's winning performance as Harvey Milk, but Mickey Rourke was beyond amazing in "The Wrestler." It would have been fascinating to hear what Rourke would have said if he had won, but at least he recieved some praise from Sean Penn in his speech ("Mickey Rourke rises again and he is my brother."). This was Penn's second win for Best Actor, putting him on the level with elite company such as Jack Nicholson, Gary Cooper and Marlon Brando.
Best Picture:
My Picks: Should/Will: "Slumdog Millionaire"
This was another easy category to pick considering the amount of praise the film recieved leading up to the Oscars. Danny Boyle's sprawling love story centered in India was a masterpiece of filmmaking. The acting was superb, the writing top notch and the story was one in a million. For a movie that nearly got released on DVD, its win for Best Picture was definitely deserved.
Best Supporting Actor:
My Pick: Should/Will win: Heath Ledger
In my opinion this pick was easy. Ledger gave a fantastic performance as the evil, manipulative villain in "The Dark Knight," and no one else (except maybe Josh Brolin) had a shot at winning the award. I also thought the acceptance speech given by Ledgers family was done very tastefully and respecfully. They accepted the award an honest, emotional speech which didn't go on for too long, but they didn't rush off the stage either.
Best Supporting Actress:
My Picks: Should Win: Marissa Tomei, Will Win: Taraji P. Henson
The only category in which neither of my picks went on to win just also happened to be the category with most of the years strongest acting performances. Tomei or Henson in any other year could have easiyl won the award, but it was Penelope Cruz for her sexy, comedic role in Woody Allen's "Vicky Christina Barcelona" who took home the golden statuette. Cruz, who became the first Spanish actress to win an Oscar, was visibly shocked when she came on stage to receive her award. In her unmistakeable Spanish accent she asked, "has anyone ever fainted up her before?"
Best Actress:
My Picks: Should Win: Melissa Leo, Will Win: Kate Winslet.
I think I knew from the beginning that Melissa Leo never had a shot to win this award, but I was hoping that if she did, I would look like some sort of cinema genius for picking her. Kate Winslet beat out powerhouse actresses Meryl Streep and Angelina Jolie for her performance in "The Reader." It was her sixth nomination, which is the most for an actress as young as Winslet (33)
Best Actor
My Picks: Should Win: Mickey Rourke Will Win: Sean Penn
If I could have picked any award to hand out myself it would have been this one. I don't mean to take anything away from Sean Penn's winning performance as Harvey Milk, but Mickey Rourke was beyond amazing in "The Wrestler." It would have been fascinating to hear what Rourke would have said if he had won, but at least he recieved some praise from Sean Penn in his speech ("Mickey Rourke rises again and he is my brother."). This was Penn's second win for Best Actor, putting him on the level with elite company such as Jack Nicholson, Gary Cooper and Marlon Brando.
Best Picture:
My Picks: Should/Will: "Slumdog Millionaire"
This was another easy category to pick considering the amount of praise the film recieved leading up to the Oscars. Danny Boyle's sprawling love story centered in India was a masterpiece of filmmaking. The acting was superb, the writing top notch and the story was one in a million. For a movie that nearly got released on DVD, its win for Best Picture was definitely deserved.
"Watchmen" Review
A funny thing happened when "Watchmen" came out. For years the film industry and the novels rabid fans have wondered if an adaptation were made, would it be faithful to the original material?
Once Zack Snyder was handed the reigns, the question still remained. Now that the film has finally been released, would it stay loyal to the original material? The answer is emphatically yes -- but perhaps to a fault.
"Watchmen" is aesthetically gorgeous, with amazingly detailed, vibrant sets, but one of its most obvious weaknesses as a film is that it is at times too loyal to the book.
I read the book a few years ago while I was in high school and I was marveled by the detailed plot, the non linear way of telling the story and the engrossing characters. After finishing I immediately considered myself a huge fan of the book. I was extremely excited while watching the film; for years I had anticipated being able to watch some of my favorite superheroes come alive on screen.
But the majority of people have never heard of Dr. Manhattan, the Comedian, Rorschach or even "Watchmen" itself before sitting down to watch the film. This can be problematic because some of the lines the characters speak are taken directly from the original source, which makes a fan of the material (such as me) extremely happy, but to someone who hasn't read it, some scenes translate into wooden, even corny exchanges of dialogue.
"Watchmen" begins with the murder of a superhero and then quickly sketches in the back story of an alternative universe in which masked vigilantes have been outlawed. The few who remain either work for the government or are retired. Set in 1985, it's a world that closely resembles our own during the last days of the Cold War in the 1980s. Russia has invaded Afghanistan and the US wants them out. The doomsday clock is ticking towards midnight, with the threat of nuclear annihilation in the air. In the world of "Watchmen," the Vietnam War ended in 1971, Watergate never happened, and Richard Nixon is still President.
The murder of The Comedian (Jeffrey Dean Morgan) prompts Rorschach (Jackie Earle Haley), who has ignored the government ban on crime fighting activities, to investigate and he discovers a possible conspiracy, putting the lives of all the masked heroes in danger. He warns Nite Owl (Patrick Wilson), who thinks about his glory days as a hero and Ozymandias (Matthew Goode), who has used his superhero past to build a business empire.
Rorschach also tries to warn blue-skinned Doctor Manhattan (Billy Crudup) and his longtime partner Laurie aka Silk Spectre (Malin Akerman). Manhattan works for the government and helped end the Vietnam War with the Comedian. Ever since suffering a horrific accident that transformed him into the god-like, super-powered creature, he has been steadily losing touch with humanity. Laurie also harbors resentment toward The Comedian, who tried to rape her mother, the original Silk Spectre (Carla Gugino), and seeks solace in the company of her old friend Nite Owl.
There's a lot of ground to cover and the film isn't in a hurry to cover it, taking the better part of an hour just to establish the world where the film takes place. With many people meeting these characters for the first time, the film doesn't give the audience enough time to learn about the characters and accept them. By the end of the movie they haven't had the chance to connect with them completely.
The film is still enjoyable for those not in the "Watchmen" novel subculture, but without that previous knowledge of what the novel means culturally, some of the story is lost on the audience. But aside from some cardboard moments between characters and perhaps some audience members feeling confused, the film is a violent, tremendously entertaining adaptation.
The opening-credit sequence of the film is fantastic, and gives the audience a great introduction into the world where "Watchmen" takes place. It packs in the story of how the Minutemen (masked crime fighters of the 1940s) gave rise to their more nihilistic counterparts in the 50s and splices in historical events like the JFK assassination. The sequence is set to the thrillingly redone sound of Bob Dylan's ''The Times They Are A-Changin'," which is just one of the many pop culture references that are in the movie.
The film features some very stylish directing, but sometimes it feels as if the camera is too still and emotionless. One thing Snyder has shown he is extremely adept at are his use of slow motion shots. At the beginning of the film when the Comedian is murdered and later on when Ozymindas is attacked, Snyder uses slow motion shots to bring the audience close to the characters. At the beginning of the film when the Comedian is thrown from his apartment window he lets the audience watch every last detail of the scene, to the specks of glass that break as he falls.
He also added a few light touches of his own that were not from the novel: a pool of blood that forms a smiley face; the bloody aftermath of a superhero "rescue," a street prostitute exposing her breasts, and one character gets his hands cut off instead of having his throat sliced.
Snyder's attention to detail is absolutely extraordinary. Multiple views of the film will be needed to find every easter egg he has hidden throughout the movie. Snyder also does a great job of blocking his scenes, using his actors and the sets to recreate individual panels from the book.
Snyder's film is a dense piece of work with many layers of historical, cultural and intellectual commentary. Many of the film's deeper meanings are almost impossible to capture in a single viewing, which I think will help "Watchmen" stand up years down the road.
Some of the performances in the film were extremely hollow, but the ones that stood out were Jackie Earle Haley (Rorschach) and Jeffery Dean Morgan (The Comedian). Each gave an extremely emotional and intense performance for two of the most popular characters from the original novel.
Haley's portrayal of the slightly insane, ink-blot mask wearing vigilante Rorschach is perfect. The actor is covered behind his endlessly shifting face-mask for almost the entire film, only offering the audience his gritty voice as a peek inside his character. But Haley's best moment comes when his character is in prison and his mask is off. His fights with the inmates and verbal sparring with his shrink are some of the films best scenes. The actor showed passion for the role even before he was part of the film.
In an interview with the A.V. Club (www.avclub.com) Haley said that he created an audition tape with the help of friends and sent it into the filmmakers unsolicited.
"I put together this little Halloween sort of Rorschach-ian costume and made this cheesy audition tape, and we sent it in to Zack," said Haley And a couple weeks later, he called me in for a meeting, and I went in and talked with him about the character for a good hour or two, and we shook hands. And a couple weeks later, I got the call and he chose me. And was just thrilled."
Morgan's take on the Comedian is surprisingly engaging. Although he plays a despicable character, Morgan somehow makes the audience feel sympathetic for him. At the very least he makes you understand this amoral soldier who commits some pretty atrocious acts on screen from nearly raping a woman in one scene to the brutal killing of an innocent in another.
Patrick Wilson brings a delicate touch to Nite Owl and his various unresolved issues, while Billy Crudup does a decent job with the film's most challenging role as the naked blue God among men Dr. Manhattan. Crudup's spent most of the time making the film dressed in small electronic sensors to enable the film's artists to render his character digitally in post production. Malin Akerman (Silk Spectre) and Matthew Goode (Ozymindas) give serviceable performances, but neither actor does anything memorable with their roles.
Snyder has said that even though his Watchmen movie is about an alternate 1985, it's subtly commenting on the world today. Once you realize that the Cold War and the domino theory and everything else was just a mass hallucination, you start to question our current situation and paranoia's, like the War on Terror.
One thing that Snyder's adaptation could not translate was the novels human perspective. The newsstand vendor and his customers, excerpts from the companion comic "Tales of the Black Freighter," the home life of the psychiatrist treating Rorschach, and the fiery tabloid editor and his sloppy assistant were victim to Snyder trimming his cut down. These scenes and characters in the novel convey a feeling of dread, of normal, mortal concern which is exactly what the writers were aiming for by putting the US at the brink of nuclear war.
For extreme fans of the novel and the film, Snyder will be releasing a directors cut in June which will run for over three hours. The extended version will also include some things the director was forced to cut from the final film. Along with extended and according to the director "more violent" scenes, the companion "Freighter" comic and excerpts from Hollis Mason's "Under the Hood" autobiography will be featured.
In the end though, "Watchmen" is the place where style and story collide. After years of fans worrying, a big time Hollywood studio has delivered a loyal adaptation of "Watchmen." Snyder has made the ultimate nihilistic movie, topping even "The Dark Knight" in that respect (but not in quality).
The characters are faced with tough decisions and by the end are forced to chose between what's right for themselves and for the world at large. It's a movie everyone should see including people who haven't read the graphic novel.
Once Zack Snyder was handed the reigns, the question still remained. Now that the film has finally been released, would it stay loyal to the original material? The answer is emphatically yes -- but perhaps to a fault.
"Watchmen" is aesthetically gorgeous, with amazingly detailed, vibrant sets, but one of its most obvious weaknesses as a film is that it is at times too loyal to the book.
I read the book a few years ago while I was in high school and I was marveled by the detailed plot, the non linear way of telling the story and the engrossing characters. After finishing I immediately considered myself a huge fan of the book. I was extremely excited while watching the film; for years I had anticipated being able to watch some of my favorite superheroes come alive on screen.
But the majority of people have never heard of Dr. Manhattan, the Comedian, Rorschach or even "Watchmen" itself before sitting down to watch the film. This can be problematic because some of the lines the characters speak are taken directly from the original source, which makes a fan of the material (such as me) extremely happy, but to someone who hasn't read it, some scenes translate into wooden, even corny exchanges of dialogue.
"Watchmen" begins with the murder of a superhero and then quickly sketches in the back story of an alternative universe in which masked vigilantes have been outlawed. The few who remain either work for the government or are retired. Set in 1985, it's a world that closely resembles our own during the last days of the Cold War in the 1980s. Russia has invaded Afghanistan and the US wants them out. The doomsday clock is ticking towards midnight, with the threat of nuclear annihilation in the air. In the world of "Watchmen," the Vietnam War ended in 1971, Watergate never happened, and Richard Nixon is still President.
The murder of The Comedian (Jeffrey Dean Morgan) prompts Rorschach (Jackie Earle Haley), who has ignored the government ban on crime fighting activities, to investigate and he discovers a possible conspiracy, putting the lives of all the masked heroes in danger. He warns Nite Owl (Patrick Wilson), who thinks about his glory days as a hero and Ozymandias (Matthew Goode), who has used his superhero past to build a business empire.
Rorschach also tries to warn blue-skinned Doctor Manhattan (Billy Crudup) and his longtime partner Laurie aka Silk Spectre (Malin Akerman). Manhattan works for the government and helped end the Vietnam War with the Comedian. Ever since suffering a horrific accident that transformed him into the god-like, super-powered creature, he has been steadily losing touch with humanity. Laurie also harbors resentment toward The Comedian, who tried to rape her mother, the original Silk Spectre (Carla Gugino), and seeks solace in the company of her old friend Nite Owl.
There's a lot of ground to cover and the film isn't in a hurry to cover it, taking the better part of an hour just to establish the world where the film takes place. With many people meeting these characters for the first time, the film doesn't give the audience enough time to learn about the characters and accept them. By the end of the movie they haven't had the chance to connect with them completely.
The film is still enjoyable for those not in the "Watchmen" novel subculture, but without that previous knowledge of what the novel means culturally, some of the story is lost on the audience. But aside from some cardboard moments between characters and perhaps some audience members feeling confused, the film is a violent, tremendously entertaining adaptation.
The opening-credit sequence of the film is fantastic, and gives the audience a great introduction into the world where "Watchmen" takes place. It packs in the story of how the Minutemen (masked crime fighters of the 1940s) gave rise to their more nihilistic counterparts in the 50s and splices in historical events like the JFK assassination. The sequence is set to the thrillingly redone sound of Bob Dylan's ''The Times They Are A-Changin'," which is just one of the many pop culture references that are in the movie.
The film features some very stylish directing, but sometimes it feels as if the camera is too still and emotionless. One thing Snyder has shown he is extremely adept at are his use of slow motion shots. At the beginning of the film when the Comedian is murdered and later on when Ozymindas is attacked, Snyder uses slow motion shots to bring the audience close to the characters. At the beginning of the film when the Comedian is thrown from his apartment window he lets the audience watch every last detail of the scene, to the specks of glass that break as he falls.
He also added a few light touches of his own that were not from the novel: a pool of blood that forms a smiley face; the bloody aftermath of a superhero "rescue," a street prostitute exposing her breasts, and one character gets his hands cut off instead of having his throat sliced.
Snyder's attention to detail is absolutely extraordinary. Multiple views of the film will be needed to find every easter egg he has hidden throughout the movie. Snyder also does a great job of blocking his scenes, using his actors and the sets to recreate individual panels from the book.
Snyder's film is a dense piece of work with many layers of historical, cultural and intellectual commentary. Many of the film's deeper meanings are almost impossible to capture in a single viewing, which I think will help "Watchmen" stand up years down the road.
Some of the performances in the film were extremely hollow, but the ones that stood out were Jackie Earle Haley (Rorschach) and Jeffery Dean Morgan (The Comedian). Each gave an extremely emotional and intense performance for two of the most popular characters from the original novel.
Haley's portrayal of the slightly insane, ink-blot mask wearing vigilante Rorschach is perfect. The actor is covered behind his endlessly shifting face-mask for almost the entire film, only offering the audience his gritty voice as a peek inside his character. But Haley's best moment comes when his character is in prison and his mask is off. His fights with the inmates and verbal sparring with his shrink are some of the films best scenes. The actor showed passion for the role even before he was part of the film.
In an interview with the A.V. Club (www.avclub.com) Haley said that he created an audition tape with the help of friends and sent it into the filmmakers unsolicited.
"I put together this little Halloween sort of Rorschach-ian costume and made this cheesy audition tape, and we sent it in to Zack," said Haley And a couple weeks later, he called me in for a meeting, and I went in and talked with him about the character for a good hour or two, and we shook hands. And a couple weeks later, I got the call and he chose me. And was just thrilled."
Morgan's take on the Comedian is surprisingly engaging. Although he plays a despicable character, Morgan somehow makes the audience feel sympathetic for him. At the very least he makes you understand this amoral soldier who commits some pretty atrocious acts on screen from nearly raping a woman in one scene to the brutal killing of an innocent in another.
Patrick Wilson brings a delicate touch to Nite Owl and his various unresolved issues, while Billy Crudup does a decent job with the film's most challenging role as the naked blue God among men Dr. Manhattan. Crudup's spent most of the time making the film dressed in small electronic sensors to enable the film's artists to render his character digitally in post production. Malin Akerman (Silk Spectre) and Matthew Goode (Ozymindas) give serviceable performances, but neither actor does anything memorable with their roles.
Snyder has said that even though his Watchmen movie is about an alternate 1985, it's subtly commenting on the world today. Once you realize that the Cold War and the domino theory and everything else was just a mass hallucination, you start to question our current situation and paranoia's, like the War on Terror.
One thing that Snyder's adaptation could not translate was the novels human perspective. The newsstand vendor and his customers, excerpts from the companion comic "Tales of the Black Freighter," the home life of the psychiatrist treating Rorschach, and the fiery tabloid editor and his sloppy assistant were victim to Snyder trimming his cut down. These scenes and characters in the novel convey a feeling of dread, of normal, mortal concern which is exactly what the writers were aiming for by putting the US at the brink of nuclear war.
For extreme fans of the novel and the film, Snyder will be releasing a directors cut in June which will run for over three hours. The extended version will also include some things the director was forced to cut from the final film. Along with extended and according to the director "more violent" scenes, the companion "Freighter" comic and excerpts from Hollis Mason's "Under the Hood" autobiography will be featured.
In the end though, "Watchmen" is the place where style and story collide. After years of fans worrying, a big time Hollywood studio has delivered a loyal adaptation of "Watchmen." Snyder has made the ultimate nihilistic movie, topping even "The Dark Knight" in that respect (but not in quality).
The characters are faced with tough decisions and by the end are forced to chose between what's right for themselves and for the world at large. It's a movie everyone should see including people who haven't read the graphic novel.
"Better Off Ted" Review
In the current era of television, quirky network comedies are usually critical darlings, but also struggle to get high ratings. Perfect examples of this are "30 Rock," "Scrubs" and "Arrested Development." The one glaring exception to this is NBC's "The Office," which has won many awards while also being able to bring in many of viewers.
The newest quirky comedy to join the club is ABC's "Better Off Ted." The show is very funny, but it's also unusual. It follows Ted (Jay Harrington), the head of research and development for Veridian Dynamics, a giant company that comes up with new uses for old things and old uses for new things. For example, when handed fabric, Ted is asked if he can make a breakfast meat out of it. He oversees a group of scientists who do things like weaponize pumpkins and make computer mice withstand extreme temperatures. He likes his job, he likes his people, but he doesn't always like the people he works for.
The company is represented by Veronica (Portia de Rossi), Ted's confident, but tightly wound and ridiculously literal-minded boss. She is a great executive, but only she doesn't have to deal with actual people; the best way to describe her could be socially awkward. The timing in which de Rossi ("Arrested Development") enters and exits each scene is hilarious, adding to the awkward nature of her character.
Ted's point men in the lab are Phil (Jonathan Slavin) and Lem (Malcolm Barrett), who both complain about the higher ups in the company while producing the innovations Ted asks for. Ted has an office love interest in sunny rebel Linda (Andrea Anders), who's job is to test the products the team produces. Ted is leery about getting involved, saying he ''used up'' his one office affair with Veronica years ago (itself being a funny joke). All the while Ted is trying to balance his career and raising his daughter Rose (Isabella Acres).
The show was created by Victor Fresco, who was behind another short lived quirky comedy "Andy Richter Controls the Universe".
"Better Off Ted" is sharply written and offers dozens of quote-worthy lines and memorable scenarios. One of the best is when Victoria discovers the effect that young, cute Rose has on people and starts using her as a buffer whenever she has to take care of unpleasant business.
In the episode, Ted brings Rose to work, she gets passed from co-worker to co-worker while Ted deals with other problems. At one point, Veronica realizes that having a cute kid in her office is useful for those moments when an angry superior barges in to yell at her, or when she doesn't want to suffer through the crying of an employee she just fired.
de Rossi's performance as a glossy, ruthless corporate henchperson is perfect. She would be absolutely scary if she weren't so absurdly funny. Speaking to Ted about one of their co-workers, Veronica says sharply, "We want to freeze Phil -- just to see if it's possible."
The first two episodes started off with hilarious ads for Veridian Dynamics, each promoting the company's various products and slogan: "We can do that."
Veridian manufactures almost every familiar product; in one ad a ptchman admits, "We don't make cows, but we have made a sheep." It seems Ted's office can stand in for any kind of company, in any kind of situation. This type of flexibility gives the show's writers a lot of material to work with and is one reason why the show could be successful.
In the first episode the company takes Veronica's words, and freezes Phil. After being frozen and then accidentally thawing out, Phil begins to make an uncontrollable loud shrieking noise. The running joke is used hilariously throughout the episode.
Another highlight is when Rose finds researcher Linda toying with a bright blue Play-Doh-like substance and asks what it is. "Something we invented for a line of diet foods," Linda explains. "People are going to eat this?" Rose asks. "Not knowingly," Linda admits.
An aspect of the show that is a little different than most comedies is that throughout the episode Ted will monologue directly into the camera. It's an idea partially borrowed from "The Office," but it's done differently because Ted is the only one to speak to the audience.
As Ted, a man who means well but has to pick his battles with the uncaring Veridian bosses, Harrington does a formidable job. He stands handsome and polite, while playing off the the funnier people around him.
de Rossi, plays an entirely different kind of character from her stint as the spoiled daughter on "Arrested Development." She gets all the best lines, due to the fact that de Rossi delivers each of them with a perfect, sarcastic yet serious tone. She also brings an unexpected likability to a character who could be a complete sociopath. There's a moment in the Rose episode where Veronica is struggling to relate to the kid, and Veronica tries to compliment her skin: "I wish there was a way to peel it off your face and attach it to mine."
I enjoy the character of Linda and the flirtation between her and Ted. Anders (once stuck on the sitcom "Joey"), is extremely likable and rebels against Veridian by stealing all the creamer from the kitchen. Slavin and Barrett are hilarious as Phil and Lem, bringing an extra bit of fun to the show and also proving that sometimes the nerds are way funnier than the pretty kids.
The show's one major pitfall is that it can be a little too quirky for its own good. Even the more realistic characters, Ted and Linda, step into the crazy zone at times. There's a fine line to walk between showing exaggerated versions of real worklife and veering into too ridiculous territory. Comedies like this need something to ground them, like the relationship of Jim and Pam on "The Office."
"Ted" is sometimes too silly, but there was some evolution between the pilot and the second episode. If the characters become even more fleshed out as the season goes on, that should help balance the wacky humor and situations. The problem with that is, if the show doesn't find a large enough audience, it may not have enough time to solidify itself.
"Better Off Ted" will drive a divide between the people who will quote the show's lines and those who will just wonder "why should i watch another one of these comedies?" I hope ABC gives "Ted" time to grow and find an audience, because it is a genuinely funny show.
ABC would be wise to follow follow in the footsteps of NBC and how they handled "The Office." Towards the beginning of the show's run the ratings were low, but NBC stood by the show, giving it time to grow and now it is one of the best rated, highest quality comedies on television.
With "Scrubs"'s future up in the air and "Arrested Development" long cancelled, the timing is good to add a sarcastic, sweet and witty comedy to network TV.
The newest quirky comedy to join the club is ABC's "Better Off Ted." The show is very funny, but it's also unusual. It follows Ted (Jay Harrington), the head of research and development for Veridian Dynamics, a giant company that comes up with new uses for old things and old uses for new things. For example, when handed fabric, Ted is asked if he can make a breakfast meat out of it. He oversees a group of scientists who do things like weaponize pumpkins and make computer mice withstand extreme temperatures. He likes his job, he likes his people, but he doesn't always like the people he works for.
The company is represented by Veronica (Portia de Rossi), Ted's confident, but tightly wound and ridiculously literal-minded boss. She is a great executive, but only she doesn't have to deal with actual people; the best way to describe her could be socially awkward. The timing in which de Rossi ("Arrested Development") enters and exits each scene is hilarious, adding to the awkward nature of her character.
Ted's point men in the lab are Phil (Jonathan Slavin) and Lem (Malcolm Barrett), who both complain about the higher ups in the company while producing the innovations Ted asks for. Ted has an office love interest in sunny rebel Linda (Andrea Anders), who's job is to test the products the team produces. Ted is leery about getting involved, saying he ''used up'' his one office affair with Veronica years ago (itself being a funny joke). All the while Ted is trying to balance his career and raising his daughter Rose (Isabella Acres).
The show was created by Victor Fresco, who was behind another short lived quirky comedy "Andy Richter Controls the Universe".
"Better Off Ted" is sharply written and offers dozens of quote-worthy lines and memorable scenarios. One of the best is when Victoria discovers the effect that young, cute Rose has on people and starts using her as a buffer whenever she has to take care of unpleasant business.
In the episode, Ted brings Rose to work, she gets passed from co-worker to co-worker while Ted deals with other problems. At one point, Veronica realizes that having a cute kid in her office is useful for those moments when an angry superior barges in to yell at her, or when she doesn't want to suffer through the crying of an employee she just fired.
de Rossi's performance as a glossy, ruthless corporate henchperson is perfect. She would be absolutely scary if she weren't so absurdly funny. Speaking to Ted about one of their co-workers, Veronica says sharply, "We want to freeze Phil -- just to see if it's possible."
The first two episodes started off with hilarious ads for Veridian Dynamics, each promoting the company's various products and slogan: "We can do that."
Veridian manufactures almost every familiar product; in one ad a ptchman admits, "We don't make cows, but we have made a sheep." It seems Ted's office can stand in for any kind of company, in any kind of situation. This type of flexibility gives the show's writers a lot of material to work with and is one reason why the show could be successful.
In the first episode the company takes Veronica's words, and freezes Phil. After being frozen and then accidentally thawing out, Phil begins to make an uncontrollable loud shrieking noise. The running joke is used hilariously throughout the episode.
Another highlight is when Rose finds researcher Linda toying with a bright blue Play-Doh-like substance and asks what it is. "Something we invented for a line of diet foods," Linda explains. "People are going to eat this?" Rose asks. "Not knowingly," Linda admits.
An aspect of the show that is a little different than most comedies is that throughout the episode Ted will monologue directly into the camera. It's an idea partially borrowed from "The Office," but it's done differently because Ted is the only one to speak to the audience.
As Ted, a man who means well but has to pick his battles with the uncaring Veridian bosses, Harrington does a formidable job. He stands handsome and polite, while playing off the the funnier people around him.
de Rossi, plays an entirely different kind of character from her stint as the spoiled daughter on "Arrested Development." She gets all the best lines, due to the fact that de Rossi delivers each of them with a perfect, sarcastic yet serious tone. She also brings an unexpected likability to a character who could be a complete sociopath. There's a moment in the Rose episode where Veronica is struggling to relate to the kid, and Veronica tries to compliment her skin: "I wish there was a way to peel it off your face and attach it to mine."
I enjoy the character of Linda and the flirtation between her and Ted. Anders (once stuck on the sitcom "Joey"), is extremely likable and rebels against Veridian by stealing all the creamer from the kitchen. Slavin and Barrett are hilarious as Phil and Lem, bringing an extra bit of fun to the show and also proving that sometimes the nerds are way funnier than the pretty kids.
The show's one major pitfall is that it can be a little too quirky for its own good. Even the more realistic characters, Ted and Linda, step into the crazy zone at times. There's a fine line to walk between showing exaggerated versions of real worklife and veering into too ridiculous territory. Comedies like this need something to ground them, like the relationship of Jim and Pam on "The Office."
"Ted" is sometimes too silly, but there was some evolution between the pilot and the second episode. If the characters become even more fleshed out as the season goes on, that should help balance the wacky humor and situations. The problem with that is, if the show doesn't find a large enough audience, it may not have enough time to solidify itself.
"Better Off Ted" will drive a divide between the people who will quote the show's lines and those who will just wonder "why should i watch another one of these comedies?" I hope ABC gives "Ted" time to grow and find an audience, because it is a genuinely funny show.
ABC would be wise to follow follow in the footsteps of NBC and how they handled "The Office." Towards the beginning of the show's run the ratings were low, but NBC stood by the show, giving it time to grow and now it is one of the best rated, highest quality comedies on television.
With "Scrubs"'s future up in the air and "Arrested Development" long cancelled, the timing is good to add a sarcastic, sweet and witty comedy to network TV.
U2 Review
Saying that U2 had a pretty big week is an understatement. The hugely successful band went on a promotional blitz: they released a new album, spent the week as David Letterman’s band and even had a street named after them.
March 2, when they started their weeklong gig on the "Late Show with David Letterman."
The band's first night of their weeklong gig was strategically scheduled the night before the band's new album, "No Line on the Horizon," hit stores. On the show U2 performed their new song "Breathe" and were featured in a comedy skit that found them shoveling snow in front of Roseland Ballroom the day after a blizzard hit the area.
"No Line On The Horizon," is band's first album in nearly five years; and is a really good album, but definitely not their best. Sometimes when a band comes out with so many albums over the years, it's hard to keep churning out quality work. That's not the case here, but a couple of the tracks are not up to par with what U2 has perviously done, including "Stand Up Comedy," which leaves listeners wanting more. The track has a good melody, but Bono's lyrics such as, "I need to stand up to my ego/But my ego is not my enemy," seem uninspired.
During their phenomenal week, Tuesday March 3 was perhaps the biggest day for the band. Coinciding with their new record being released they were honored by New York City Mayor Michael Bloomberg. On the cold afternoon Bloomberg announced that a section of West 53rd Street will briefly be renamed "U2 Way." Later on that night the band gave another great performance, playing "Magnificent," which is by far the best track on their new album.
The group was absolutely hilarious on their third show when they did the Top Ten List, which was called the "Top 10 Things U2 Has Learned Over the Years." One of the funniest bits was when guitarist The Edge admitted that he does "suck at Guitar Hero." The band proved that they can make a joke, but also take one at their expense.
On Thursday, their fourth night on the show, the band sat down for the first time this week with Letterman for an interview. During their very relaxed chat they spoke about the Beatles and about the early days of the band including a time when they accidentally ventured to the wrong side of the Berlin Wall.
Afterwards, they took the stage to play "Beautiful Day," an older song rather than one from their newest album. While it's not one of U2's best songs, they played it with high energy and their performance was a pleasant surprise.
The band's last night on the show was a solid performance, but it didn't stack up to the rest of the week. They played the first single off their new album "Get On Your Boots" and thanked Letterman's audience for watching all week.
For anyone who felt that five nights of U2 would be too much, the band definitely proved them wrong. Their performances were great and when featured in skits, they proved to be genuinely fun and humorous.
The band also announced this week that they are going on a world tour which will kick off in Barcelona, Spain on June 30. They plan to stay on the road through the fall of 2010, playing between 90 and 100 shows. The initial European leg will wrap up in August 22, then head to North America on October 28.
March 2, when they started their weeklong gig on the "Late Show with David Letterman."
The band's first night of their weeklong gig was strategically scheduled the night before the band's new album, "No Line on the Horizon," hit stores. On the show U2 performed their new song "Breathe" and were featured in a comedy skit that found them shoveling snow in front of Roseland Ballroom the day after a blizzard hit the area.
"No Line On The Horizon," is band's first album in nearly five years; and is a really good album, but definitely not their best. Sometimes when a band comes out with so many albums over the years, it's hard to keep churning out quality work. That's not the case here, but a couple of the tracks are not up to par with what U2 has perviously done, including "Stand Up Comedy," which leaves listeners wanting more. The track has a good melody, but Bono's lyrics such as, "I need to stand up to my ego/But my ego is not my enemy," seem uninspired.
During their phenomenal week, Tuesday March 3 was perhaps the biggest day for the band. Coinciding with their new record being released they were honored by New York City Mayor Michael Bloomberg. On the cold afternoon Bloomberg announced that a section of West 53rd Street will briefly be renamed "U2 Way." Later on that night the band gave another great performance, playing "Magnificent," which is by far the best track on their new album.
The group was absolutely hilarious on their third show when they did the Top Ten List, which was called the "Top 10 Things U2 Has Learned Over the Years." One of the funniest bits was when guitarist The Edge admitted that he does "suck at Guitar Hero." The band proved that they can make a joke, but also take one at their expense.
On Thursday, their fourth night on the show, the band sat down for the first time this week with Letterman for an interview. During their very relaxed chat they spoke about the Beatles and about the early days of the band including a time when they accidentally ventured to the wrong side of the Berlin Wall.
Afterwards, they took the stage to play "Beautiful Day," an older song rather than one from their newest album. While it's not one of U2's best songs, they played it with high energy and their performance was a pleasant surprise.
The band's last night on the show was a solid performance, but it didn't stack up to the rest of the week. They played the first single off their new album "Get On Your Boots" and thanked Letterman's audience for watching all week.
For anyone who felt that five nights of U2 would be too much, the band definitely proved them wrong. Their performances were great and when featured in skits, they proved to be genuinely fun and humorous.
The band also announced this week that they are going on a world tour which will kick off in Barcelona, Spain on June 30. They plan to stay on the road through the fall of 2010, playing between 90 and 100 shows. The initial European leg will wrap up in August 22, then head to North America on October 28.
Will Ferrell...President?
George W. Bush’s last day as President was on January 20, but his second term will last just a little bit longer. This time though he won’t be residing in the White House. Instead he will be at the Cort Theater on West 48th Street in New York City. And oh yeah, he’s being played by comedian Will Ferrell.
Ferrell, known for playing mostly movie roles as egotistical athletes, wild-eyed anchormen and over aged frat boys, is finally making the jump to Broadway. In his debut “You’re Welcome America. A Final Night With George W. Bush”, Ferrell plays the 43 President, an impression he made famous a decade ago.
He will perform the one-man show through March 15 with tickets being relatively inexpensive ranging from $30 to $100 dollars. The star himself said that the audience should “expect the unexpected,” when it comes to the show.
Previews for the show began on January 20, the same day Barack Obama was inaugurated as President and premiered on February 5. The first preview began with Mr. Bush dropping to the stage, apparently from the Marine One helicopter that carried him from the lawn of the new Obama White House.
Adam McKay, Ferrell’s longtime friend and producing partner, is directing the 80-minute production. McKay has previously directed the films “Talladega Nights,” “Anchorman” and along with Ferrell wrote the script for “Step Brothers.”
“This is one of the biggest flying leaps I’ve ever taken,” said Ferrell. “The only thing it compares to is auditioning for ‘Saturday Night Live’ in Studio 8H with a camera on me, a couple of people watching in the darkness, no one laughing, and me thinking, ‘Oh my God, what’s happening!’ But it feels good right now, to take a leap.”
Ferrell had time to try to perfect his Bush impersonation many years ago when he still was the star of “Saturday Night Live.” The character was featured mostly during Ferrell’s sixth season on the show, when the country was on their way to electing Dubya President.
Since leaving “Saturday Night Live,” Mr. Ferrell has performed as President Bush on occasion. Last year Jon Stewart interviewed Ferrell-as-Bush during a fund-raiser for autism education and two weeks ago he appeared on the last episode of “Late Night with Conan O’Brien.”
His impersonation of the President’s voice can sometimes slip into surfer dude status, but no one is better at capturing the little nuances of Bush --the squint, the curled lip, the stuttered laugh—better than Ferrell.
Right now the show is the hottest ticket on Broadway, generating over $5 million in advanced sales and nearly every seat has been sold for its eight week run. The first weeks of the show brought out A-list stars such as Bon Jovi, Matthew Broderick and rapper Common.
The reviews of the show have been mostly positive so far; with many critics praising Ferrell’s spot on impersonation as the reason the show is successful.
Joe Dziemianowicz of the New York Daily News said, "Ferrell is lightning fast on his feet and turns each ad lib into a burst of hilarity, a mission accomplished, if you will." While David Rooney of Variety wrote that “Ferrell provides a cathartic, almost cleansing farewell in "You're Welcome America: A Final Night With George W Bush."
Fortunately for Ferrell fans, if they can’t make it to New York City by March 20, they will still have a chance to see the show. HBO is set to air a live telecast of the show towards the end of its run on Saturday March 14.
One person who is unlikely to attend the show in its final week is the real ex-prez, although at one point Ferrell was under the impression that Bush was a fan.
"It was back when he was governor, I had just started playing him and he was going to be on the show," Ferrell said. "I was told that he and his people were huge fans of mine and would love to meet me. So I hurried down to the 'SNL' studio and all these photographers were taking pictures and they pushed me into this circle of people and they said, 'Go say hi.' So I went up and said, 'Hello, Mr. Governor. Thanks for doing the show.' I could tell he had no idea who I was."
Ferrell, known for playing mostly movie roles as egotistical athletes, wild-eyed anchormen and over aged frat boys, is finally making the jump to Broadway. In his debut “You’re Welcome America. A Final Night With George W. Bush”, Ferrell plays the 43 President, an impression he made famous a decade ago.
He will perform the one-man show through March 15 with tickets being relatively inexpensive ranging from $30 to $100 dollars. The star himself said that the audience should “expect the unexpected,” when it comes to the show.
Previews for the show began on January 20, the same day Barack Obama was inaugurated as President and premiered on February 5. The first preview began with Mr. Bush dropping to the stage, apparently from the Marine One helicopter that carried him from the lawn of the new Obama White House.
Adam McKay, Ferrell’s longtime friend and producing partner, is directing the 80-minute production. McKay has previously directed the films “Talladega Nights,” “Anchorman” and along with Ferrell wrote the script for “Step Brothers.”
“This is one of the biggest flying leaps I’ve ever taken,” said Ferrell. “The only thing it compares to is auditioning for ‘Saturday Night Live’ in Studio 8H with a camera on me, a couple of people watching in the darkness, no one laughing, and me thinking, ‘Oh my God, what’s happening!’ But it feels good right now, to take a leap.”
Ferrell had time to try to perfect his Bush impersonation many years ago when he still was the star of “Saturday Night Live.” The character was featured mostly during Ferrell’s sixth season on the show, when the country was on their way to electing Dubya President.
Since leaving “Saturday Night Live,” Mr. Ferrell has performed as President Bush on occasion. Last year Jon Stewart interviewed Ferrell-as-Bush during a fund-raiser for autism education and two weeks ago he appeared on the last episode of “Late Night with Conan O’Brien.”
His impersonation of the President’s voice can sometimes slip into surfer dude status, but no one is better at capturing the little nuances of Bush --the squint, the curled lip, the stuttered laugh—better than Ferrell.
Right now the show is the hottest ticket on Broadway, generating over $5 million in advanced sales and nearly every seat has been sold for its eight week run. The first weeks of the show brought out A-list stars such as Bon Jovi, Matthew Broderick and rapper Common.
The reviews of the show have been mostly positive so far; with many critics praising Ferrell’s spot on impersonation as the reason the show is successful.
Joe Dziemianowicz of the New York Daily News said, "Ferrell is lightning fast on his feet and turns each ad lib into a burst of hilarity, a mission accomplished, if you will." While David Rooney of Variety wrote that “Ferrell provides a cathartic, almost cleansing farewell in "You're Welcome America: A Final Night With George W Bush."
Fortunately for Ferrell fans, if they can’t make it to New York City by March 20, they will still have a chance to see the show. HBO is set to air a live telecast of the show towards the end of its run on Saturday March 14.
One person who is unlikely to attend the show in its final week is the real ex-prez, although at one point Ferrell was under the impression that Bush was a fan.
"It was back when he was governor, I had just started playing him and he was going to be on the show," Ferrell said. "I was told that he and his people were huge fans of mine and would love to meet me. So I hurried down to the 'SNL' studio and all these photographers were taking pictures and they pushed me into this circle of people and they said, 'Go say hi.' So I went up and said, 'Hello, Mr. Governor. Thanks for doing the show.' I could tell he had no idea who I was."
Will "The Road" Ever Get Released?
Last year while on spring break, my roommate suggested a book for me to read. He handed me a decent sized book, with nothing on the cover except a title and the name of the author. Reading the back of Cormac McCarthy's "The Road," I wasn't sure what to expect.
The novel takes place in a post-apocolypic world and follows the journey taken by a father and his young son over a period of several months. They travel across a landscape blasted years before by an unnamed disaster that destroyed civilization and almost everyone on earth.
"The Road" was released in 2006 and won the Pulitzer Prize for fiction. Anytime you stumble upon a book that has a sticker on the cover that reads "Pulitzer Prize winner," it's impossible not to be intrigued. Once I started reading, I simply could not put the book down.
McCarthy writes with an interesting, rough style throughout the book, neglecting to use commas, apostrophes and quotation marks. This makes the book feel realistic and although I was reading the book on the beach in broad daylight, I still found myself feeling empathetically scared for the characters.
I finished the book well before my vacation was over and after I turned the last page, I thought to myself, "This is easily one of the best books I've ever read."
Eventually, I picked up another book, but "The Road" still hung around in my mind. Late last year, I was thrilled when I heard that the novel was being adapted into a film starring Viggo Mortensen. Even though many film adaptations of books are successful, once they stray from the original material, they can go horribly awry.
The adaptation of author Michael Crichton's "Jurassic Park" followed the book directly and was a critical and commercial success. Other releases of his books such as "The Lost World" and "Timeline," strayed from the original material and were both huge critical flops.
Filming for "The Road" began in early 2008 with a release date set for November. The news coming from the set of the film was positive and photographs released by the producers showed that they were sticking very close to the original material. With its combination of dramatic lot, a strong cast and an early winter release date, I felt the film would be sure to win numerous awards. However, in October, the distributors of the film, The Weinstein Company, postponed the film to December. A few weeks later, it was pushed back to sometime in 2009. The company stated that they felt the film will benefit from more post-production work and a less crowded release calendar.
The Weinstein Company made two other films, Stephen Daldry's "The Reader" and Woody Allen's "Vicky Christina Barcelona" that the company hoped would compete for awards this season as well. Instead of rushing "The Road" along so they would have three awards contenders, the company allowed the creators of the film more time to ready the film for release.
Sometimes, when push comes to shove, studios will rush filmmakers along, hoping for the biggest amount of box office returns and not worrying about the quality of the film. It is encouraging to see a studio work with creative talent to help make the best adaptation possible.
Releasing a film a year early could greatly hinder the films award chances, but it is isn't unprecedented for a movie that was released early in the year to win awards. In the past decade, two Academy Award winners for Best Picture, "Gladiator" and "Crash" were released prior to October.
Since I enjoyed the book so much, I wish the film was released on schedule but perhaps the delay will allow for the movie to become even better. There still is no set release date, but that just gives people more time to discover the book. Head to the library or bookstore and pick up "The Road." It's a decision you will not regret.
The novel takes place in a post-apocolypic world and follows the journey taken by a father and his young son over a period of several months. They travel across a landscape blasted years before by an unnamed disaster that destroyed civilization and almost everyone on earth.
"The Road" was released in 2006 and won the Pulitzer Prize for fiction. Anytime you stumble upon a book that has a sticker on the cover that reads "Pulitzer Prize winner," it's impossible not to be intrigued. Once I started reading, I simply could not put the book down.
McCarthy writes with an interesting, rough style throughout the book, neglecting to use commas, apostrophes and quotation marks. This makes the book feel realistic and although I was reading the book on the beach in broad daylight, I still found myself feeling empathetically scared for the characters.
I finished the book well before my vacation was over and after I turned the last page, I thought to myself, "This is easily one of the best books I've ever read."
Eventually, I picked up another book, but "The Road" still hung around in my mind. Late last year, I was thrilled when I heard that the novel was being adapted into a film starring Viggo Mortensen. Even though many film adaptations of books are successful, once they stray from the original material, they can go horribly awry.
The adaptation of author Michael Crichton's "Jurassic Park" followed the book directly and was a critical and commercial success. Other releases of his books such as "The Lost World" and "Timeline," strayed from the original material and were both huge critical flops.
Filming for "The Road" began in early 2008 with a release date set for November. The news coming from the set of the film was positive and photographs released by the producers showed that they were sticking very close to the original material. With its combination of dramatic lot, a strong cast and an early winter release date, I felt the film would be sure to win numerous awards. However, in October, the distributors of the film, The Weinstein Company, postponed the film to December. A few weeks later, it was pushed back to sometime in 2009. The company stated that they felt the film will benefit from more post-production work and a less crowded release calendar.
The Weinstein Company made two other films, Stephen Daldry's "The Reader" and Woody Allen's "Vicky Christina Barcelona" that the company hoped would compete for awards this season as well. Instead of rushing "The Road" along so they would have three awards contenders, the company allowed the creators of the film more time to ready the film for release.
Sometimes, when push comes to shove, studios will rush filmmakers along, hoping for the biggest amount of box office returns and not worrying about the quality of the film. It is encouraging to see a studio work with creative talent to help make the best adaptation possible.
Releasing a film a year early could greatly hinder the films award chances, but it is isn't unprecedented for a movie that was released early in the year to win awards. In the past decade, two Academy Award winners for Best Picture, "Gladiator" and "Crash" were released prior to October.
Since I enjoyed the book so much, I wish the film was released on schedule but perhaps the delay will allow for the movie to become even better. There still is no set release date, but that just gives people more time to discover the book. Head to the library or bookstore and pick up "The Road." It's a decision you will not regret.
Eastbound and Down Review
With shows like “The Sopranos,” “Entourage,” and “Six Feet Under,” HBO has always been successful with their television programming. On Sunday night, "Eastbound & Down," a new comedy, joined the ranks of the networks best.
The show stars Danny McBride (“Pineapple Express”) as Kenny Powers, a foulmouthed, mullet- wearing former Major League Baseball pitcher, who washed out of the league due to his massive ego, drugs, and politically incorrect comments. He is forced to return to his hometown, where he ends up living with his older brother (John Hawkes). To make matters even worse, the only job Powers can get is as a substitute physical education teacher at the local middle school. While there he flirts with an old flame April (Katy Mixon), an art teacher who is now engaged to the clueless principal (Andrew Daly).
McBride shows a great talent for playing a character who is has way too much arrogance than he should. He's a nonstop offender to every person he encounters, even ordering the services of a prostitute on the phone in front of his sister-in-law.
Throughout the episode Powers is out of shape, frequently drunk and prone to cocaine, possibly setting up the idea that he will have some type of redemption later on. McBride's pitch and delivery of his lines are hilarious, like when he insults his brother's wife and then confesses: "Instantly I regret saying that. That was a horrible thing to say."
Kenny is self-delusional to an almost heroic extent; his head looks like it might weigh 20 pounds and his beer belly hangs out over his jeans, yet he imagines himself to be a beautiful athletic specimen no woman could ever resist. One of the funniest scenes of the episode is when Kenny's in the shower, and his tan lines reveal that he wears a thong bikini when out lounging in the sun.
The show resembles the Will Ferrell film "Talladega Nights," with both main characters being washed up, egotistical athletes. The similarities are not accidental; the show, which was created by McBride, is executive produced by Ferrell's production company and the actor will have a cameo later on in the series.
Things weren't always so easy for McBride.
Not long ago, McBride and pals Ben Best and Jody Hill (now an “Eastbound” writer/director/producer) were all broke and dreaming. The combined the money in their pockets to buy a case of beer, which they consumed while sitting in a kiddie pool behind Best’s house in Charlotte.
In 2006 McBride caught Ferrell's eye when he starred in the movie "The Foot Fist Way," a very low-budget comedy. Ferrell purchased the distribution rights to the film and said it was one of his all time favorite movies. The film stars McBride as a pompous Tae Kwon Do instructor not much unlike Kenny Powers. Soon after, Ferrell called McBride, telling him he wanted to know if he had any other ideas in the works.
As it turns out, sipping beer in kiddie pools was good for the creative flow. One of the ideas thrown around that day eventually became “Eastbound & Down."
Throughout the episode the focus is primarily on Kenny, not really allowing for any characters to make much of an impression. This isn't a complaint, because it allows McBride to flash his comedic talent in almost every scene. While fighting with his brother and sister-in-law Powers hilariously says, "I'm not gonna stop yelling, because that would mean I lost the fight!"
The force of McBride's performance and his mullet are more than enough to carry the half hour television show. "Eastbound & Down" is not your typical comedy and after finishing the pilot I could not wait to watch it again.
The show stars Danny McBride (“Pineapple Express”) as Kenny Powers, a foulmouthed, mullet- wearing former Major League Baseball pitcher, who washed out of the league due to his massive ego, drugs, and politically incorrect comments. He is forced to return to his hometown, where he ends up living with his older brother (John Hawkes). To make matters even worse, the only job Powers can get is as a substitute physical education teacher at the local middle school. While there he flirts with an old flame April (Katy Mixon), an art teacher who is now engaged to the clueless principal (Andrew Daly).
McBride shows a great talent for playing a character who is has way too much arrogance than he should. He's a nonstop offender to every person he encounters, even ordering the services of a prostitute on the phone in front of his sister-in-law.
Throughout the episode Powers is out of shape, frequently drunk and prone to cocaine, possibly setting up the idea that he will have some type of redemption later on. McBride's pitch and delivery of his lines are hilarious, like when he insults his brother's wife and then confesses: "Instantly I regret saying that. That was a horrible thing to say."
Kenny is self-delusional to an almost heroic extent; his head looks like it might weigh 20 pounds and his beer belly hangs out over his jeans, yet he imagines himself to be a beautiful athletic specimen no woman could ever resist. One of the funniest scenes of the episode is when Kenny's in the shower, and his tan lines reveal that he wears a thong bikini when out lounging in the sun.
The show resembles the Will Ferrell film "Talladega Nights," with both main characters being washed up, egotistical athletes. The similarities are not accidental; the show, which was created by McBride, is executive produced by Ferrell's production company and the actor will have a cameo later on in the series.
Things weren't always so easy for McBride.
Not long ago, McBride and pals Ben Best and Jody Hill (now an “Eastbound” writer/director/producer) were all broke and dreaming. The combined the money in their pockets to buy a case of beer, which they consumed while sitting in a kiddie pool behind Best’s house in Charlotte.
In 2006 McBride caught Ferrell's eye when he starred in the movie "The Foot Fist Way," a very low-budget comedy. Ferrell purchased the distribution rights to the film and said it was one of his all time favorite movies. The film stars McBride as a pompous Tae Kwon Do instructor not much unlike Kenny Powers. Soon after, Ferrell called McBride, telling him he wanted to know if he had any other ideas in the works.
As it turns out, sipping beer in kiddie pools was good for the creative flow. One of the ideas thrown around that day eventually became “Eastbound & Down."
Throughout the episode the focus is primarily on Kenny, not really allowing for any characters to make much of an impression. This isn't a complaint, because it allows McBride to flash his comedic talent in almost every scene. While fighting with his brother and sister-in-law Powers hilariously says, "I'm not gonna stop yelling, because that would mean I lost the fight!"
The force of McBride's performance and his mullet are more than enough to carry the half hour television show. "Eastbound & Down" is not your typical comedy and after finishing the pilot I could not wait to watch it again.
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