2019年3月1日 星期五

Some Other Movies From 1999

1999 was the year I earned my B.A. in International Studies.  What good is is a B.A. in International Studies?  I'm still working on that.  If it means anything, my life did become more "international" that year.

For most of 1999, I was having a pretty good time.  During the Seattle portion of that year I was living just north of the University of Washington, getting stoned and getting laid... and occasionally attending classes.  During the Taiwan portion of that year I was learning about life in Taiwan, dating, and eventually meeting the woman who is still my wife, 20 years later.

The five biggest movies of 1999 were Star Wars Episode 1: The Phantom Menace, The Sixth Sense, Toy Story 2, The Matrix and Tarzan (the Disney cartoon).  I can remember seeing The Phantom Menace in the theater and thinking it was BAD.  I can also remember seeing Tarzan not long after, and liking it.  The Sixth Sense remains M. Night Shyamalan's best movie, and The Matrix was undoubtedly the best blockbuster of that year.

Critical favorites were American Beauty (great movie), The Insider (also great), Magnolia (good, if overwrought), and The Green Mile (excellent).  An underrated movie from that year was Boys Don't Cry, a movie that introduced me (and most of the movie-going public) to Hilary Swank.

Other good movies from that year were Payback, Office Space (!), Election, Existenz, Ghost Dog: The Way of the Samurai, South Park: Bigger, Longer and Uncut, American Pie, Arlington Road, The Blair Witch Project, Eyes Wide Shut (awesome), Mystery Men, Detroit Rock City, Fight Club, The Cider House Rules, Any Given Sunday (one of the best football films) and Galaxy Quest.

For worst film I'd have to nominate Kevin Smith's Dogma.  Damn that movie was bad.  Just thinking about Ben Affleck's soliloquy in the parking garage makes me cringe.  Also the rest of that movie's dialogue.  Also Alanis Morissette.  Also its theology.  In a word: Yikes.



Some Good Ones

1. All About My Mother

One of the weirder movies I've seen lately.  A woman from Barcelona takes a walk on the wild side (in the larger, Lou Reed sense of the term) after tragedy strikes.  Pedro Almodovar directed.

I'm not at all familiar with Spanish directors or Spanish films, but this one has me intrigued.  Are any of Almodovar's other movies this good?  Are there other Spanish directors I should know about?  If I learn the answer to either of these questions, I'll be sure to write about it here.

2. The Iron Giant

A boy becomes friends with a giant extraterrestrial robot during the Cold War.  I'd seen bits of this movie before, but never sat down and watched the whole thing until recently.  It's ok.  Not awesome.

Fun Fact: You may remember seeing the Iron Giant in Steven Spielberg's Ready Player One.  He/it was only in that movie because the filmmakers couldn't get the rights to Ultraman.

3. Blue Streak

I suppose after having Martin Lawrence star as a cop who occasionally impersonates criminals in Bad Boys, it made sense to have him star as a criminal impersonating a cop in Blue Streak.  It's completely derivative, and all of the cops fooled by Lawrence are raging idiots, but his performance in this movie is still funny.

4. The Thirteenth Floor

Noirish murder mystery set in virtual reality.  It's surprising this came out the same year as Existenz and The Matrix.  The three movies have a lot in common, and The Thirteenth Floor might also remind you a bit of Dark City, or the even older Tron.  It's been overshadowed by all of those other films, and critics hated it in 1999, but I thought it was pretty good.  My only complaint is the virtual reality device, which looks really cheap.

5. Girl, Interrupted

It would be easy to dismiss this movie as a female version of One Flew Over the Cuckoo's Nest, but Winona Ryder and Angelina Jolie are so great in it.  James Mangold's direction is also pitch perfect.  Definitely one of the best movies of 1999.

6. The End of the Affair

I highly recommend the novel, which was one of the best and most personal things that Graham Greene ever wrote.

The movie?  It's still good, but not as concise as the novel is.  Director Neil Jordan, apparently unsatisfied with the minimalistic plot present in the novel, felt compelled to add embellishments to the story which detract - to some extent - from what was originally a more primal tale of love and jealousy.  Ralph Fiennes and Julianne Moore are very convincing in their roles, but the movie seems to meander a bit, and doesn't seem to end in the right place.

7. Jawbreaker

Black comedy in which a high school girl makes a devil's bargain after learning of a murder.  It's alright, but it lacks the insightfulness of movies like Edge of Seventeen or Mean Girls.  I'm also not buying the ending.

8. Lake Placid

Bridget Fonda and Bill Pullman try to catch a giant crocodile living in Maine.  The wonderful thing about this movie is that it KNOWS how ridiculous it is.

Fun Fact: Bridget Fonda would appear in five more movies before her retirement from acting in 2001.  The most famous of these was probably Kiss of the Dragon, a movie featuring Jet Li.  In 2003 she married Oingo Boingo frontman Danny Elfman.

9. Rogue Trader

Low budget exercise in international finance.  Ewan McGregor stars as a young banker sent by his bank to Singapore.  He gets in over his head fast, and has to cover his losses by using ghost accounts.  It's not exactly absorbing, and if you don't pay close attention to the banking jargon it'll go right over your head, but it's not bad, either.  If you've already seen The Wolf of Wall Street and The Big Short you might like this one.

10. Rajaji

Hindi film.  A young man goes to Bombay (Mumbai) to make his fortune.  And because it's a Bollywood movie someone has to fall in love and songs must be sung.  It's interesting from a sociological perspective,  Govinda is a great leading man, and the songs - what really make or break any Bollywood movie - are very catchy.




One That's Sadly Forgotten in Discussions of Clint Eastwood's Filmography

1. True Crime

If this movie has a thesis it's that "bad" people often do good things, and "good" people often do bad things.  Moral ambiguity, in other words.  It's executed (if you'll forgive the pun) flawlessly, and Eastwood is at his best as an investigative reporter assigned to interview a man on death row.  It was one of the bigger movies of 1999, but no one seems to talk much about it now.




Two Movies That Just Were

1. Virus

Virus is a movie that struggles heroically against itself.  It wants desperately to entertain you, but in its heart it knows that it's neither very original nor very well executed.

Think Aliens meets The Thing, but with some kind of techno-organic virus substituted for the more organically minded Thing.  Jamie Lee Curtis stars to cement the John Carpenter connection, with William Baldwin and Donald Sutherland in supporting roles.  It was made before cgi was in widespread use, and the special effects aren't all that special.

Donald Sutherland must have had a blast making this movie.  His performance in it, by the way, has to be the most Canadian thing ever. 

Fun Fact: This is a comic book movie!  Chuck Pfarrer, who wrote the comic, also co-wrote the screenplay to Virus.  In the comic book it's a Chinese vessel, not a Russian vessel, that gets taken over.

2. Gorgeous

Jackie Chan stars as a rich tycoon in Hong Kong, with Shu Qi as a poor Taiwanese girl trying to win his affection.  It's forgettable in the way that the more innocuous Hong Kong movies always are, and the way they sped up the film during the fight scenes is painfully obvious.

Fun Fact #1: Jackie Chan filmed this the same year as the first Rush Hour.  He regarded Rush Hour as something he did "for the money," and this movie as "his baby."  Just goes to show that even movie stars often don't know which of their movies are actually good.

Fun Fact #2: Shu Qi was just attaining superstar status at the time.  In 1999 she was known more for her erotic roles, and was little known outside of Hong Kong.




Some Bad Ones

1. 10 Things I Hate About You

Like all teen comedies, this movie features a lot of people who would be more famous later.  Julia Stiles, Joseph Gordon-Levitt, and even Heath Ledger.  Trouble is that the plot doesn't make a great deal of sense, and the editing makes what would have otherwise been snappy bits of dialogue seem ill-timed.  It might be an adaptation of Taming of the Shrew, but it's a far cry from Shakespeare.

Fun Fact: Julia Stiles was in more than one cinematic attempt at Shakespeare.  She also appeared as Ophelia in 2000's Hamlet, and as Desdemona in 2001's O, based on Othello.

2. Deep Blue Sea

The Poseidon Adventure meets Jaws.  Weirdly enough, LL Cool J leads a cast consisting of Samuel L. Jackson, Thomas Jane and others against a genetically enhanced trio of sharks.  The way various characters die, and the order in which they die, is extremely predictable.

3. Idle Hands

A high school student gets his hand possessed by a demon.  It's very low budget, and the gags would only be funny if you're in your teens.  Jessica Alba's in it for a bit, but that bit's not worth sitting through the rest of the movie for.

Fun Fact: Somehow this movie cost $25 million to make, and only grossed about $4 million.




One So Bad It's Good

1. The Boondock Saints

The making of this movie must have been a disaster.  You can just tell from the finished product.  "Missing" action sequences, strange character choices - it's all there.  Willem Dafoe does his best with the material, but at the end of the day he's still just playing a watered-down version of Gary Oldman's character in The Professional.

Fun Fact #1: Mark Wahlberg, who would later appear in The Departed, was almost cast in this movie.  He had the good sense to pass on it in favor of Boogie Nights.  The Boondock Saints, like The Departed, is set in Boston and features Irishmen taking on organized crime.

Fun Fact #2: Ron Jeremy, adult film star of note, is in this movie for a few minutes.  He also worked as a consultant on the set of - you guessed it - Boogie Nights.

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2019年2月27日 星期三

Albums That Changed My Life 3: Captain Beefheart and His Magic Band's "Trout Mask Replica"


I can't remember who said this or where I read it, but I once heard that if you took a room full of kids, and put a copy of one of Captain Beefheart's albums on the turntable, they'd get it instantly.  Unlike adults, who tend to analyze things in terms of what they're used to, kids would just HEAR it, and that would be enough.

I don't know if this is true for every kid, but it was true for me.  Back in my grandpa's house, in that den/sun room, my brother and I were sitting on the floor trying to sing along with "Ella Guru," rather unsuccessfully.  Occasionally my dad passed in and out of the room, quoting bits of the album.  We didn't really know what the words meant but we liked them.  We couldn't have told you why the music felt fun.  But it did.  It felt really good.

And then, sometime after that moment I lost touch with Captain Beefheart and His Magic Band.  At some point I moved on to poppier, more conventional bands.  I'm not sure what happened or why.  I guess I just moved on.

Fast forward to college, and I found this massive tape hoard in the basement of my parents' house.  There in a shoebox were tapes made from Captain Beefheart and Arthur Brown's entire discographies.  Also the band Love.  Also The Move.  Also some others that I'm probably forgetting.

I remembered some of the titles.  Everything off Trout Mask rang a bell of course, and I could even remember the words and music to some of the songs.  But there was other stuff in there that I hadn't heard before, like Safe As Milk and Unconditionally Guaranteed.  As I was to learn later, Captain Beefheart made quite a few albums, and Trout Mask was only the best known of these.



I spent the following summer driving around in my Mazda 323 while working my way through those tapes.  This would have been in the late 90s sometime, not sure exactly what years.  Safe As Milk blew my mind.  Ditto for Shiny Beast/Bat Chain Puller.  Unconditionally Guaranteed?  Bluejeans and Moonbeams?  Not so much.  I listened to all of those albums and couldn't believe how fresh they still sounded.

Not long ago I was in a friend of a friend's house and they started talking about the blues.  They professed a great love for it, and began playing songs that they liked.  After a while I put on a Beefheart song, one of the tamer numbers from Safe As Milk.  Their response?  "WHAT IS THIS SHIT??" and then a quick switch to the next blues standard.

But there you go.  That's Captain Beefheart in a nutshell.  Brilliant if you're ready for it.  Brilliant if you've got an open mind.  Brilliant if you're a kid.  But not so brilliant perhaps if you're waiting for the next Howlin' Wolf or Willie Dixon number.  Not so brilliant if you've already decided what "music" is.  And this phenomenon only grows worse with later albums in Beefheart's discography.  Selections from The Spotlight Kid, in fact, have been known to clear an entire room in minutes.

I love his stuff, however.  I'm also glad I was introduced to it early.  You never know what kind of music you'll enjoy if you're young enough - and/or open enough - to hear it.



Related Entries:

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2019年2月23日 星期六

"Misbehaving" by Richard H. Thaler (2015)


"The premise of the article, and later the book, is that in our increasingly complicated world people cannot be expected to have the expertise to make anything close to optimal decisions in all the domains in which they are forced to choose.  But we all enjoy having the right to choose for ourselves, even if we sometimes make mistakes.  Are there ways to make it easier for people to make what they will deem to be good decisions, both before and after the fact, without explicitly forcing anyone to do anything?"

Richard H. Thaler is a Nobel Prize-winning Professor of Economics at the University of Chicago.  He is one of the founders of Behavioral Economics, a discipline which seeks to integrate findings from Psychology into economic theory.  If his name sounds familiar, it's because he appeared in the movie The Big Short.  He's the one explaining the "hot hand fallacy" and synthetic CDOs next to Selena Gomez at the dice table.

In Misbehaving he outlines the development of Behavioral Economics from the 1970s to the the present day, and also details some of the discoveries in the field.  In one sense the book could be viewed as his autobiography, with his life forming a backdrop for the experiments he describes.  In another sense the book could be viewed as an apologia for this relatively new discipline, providing arguments in favor of a more "human-centric" approach to economics.

One thing that worried me from the outet was the author's praise for Daniel Kahneman, whose Thinking, Fast and Slow bored me to tears.  I'm not a big fan of Psychology in the best of times, and the mentions of Kahneman's book had me thinking that Misbehaving was going to be more of the same.

I'm glad to say that this isn't the case, and even though much of what Richard Thaler lays out in Misbehaving seemed rather obvious to me, his humorous approach got me through the more involved chapters of the book.  This isn't to say I loved it, but I did have a much tougher time with Thinking, Fast and Slow.

I should also state that the "obviousness" of Thaler's arguments might be due to exposure to other recent authors exploring similar material.  Steven Pinker (another author I'm not fond of) comes to mind, as does the book The Anatomy of Violence, reviewed here last year.  It might seem strange for someone who professes a dislike for Psychology to have read so many books by psychologists, but I think this is more a reflection of the publishing industry than my personal taste.  I read what I can get, and books by psychologists are always on offer.

But going back to Misbehaving, my thoughts?  I think the author spends way too much time on interdepartmental politics and his career up to 2015.  Very few people are going to care about the personalities described in this book, especially considering the fact that they are/were Professors of Economics, and several of them are now dead.  As for the concept of Behavioral Economics, it seems like a no-brainer to me.  People aren't "rational" in the classical economics sense of the word, and we're always making imperfect choices based on incomplete information.  Just look at the Internet, and think of how much social media sites and deteriorating news outlets influence our lives.

For those with NO knowledge of Behavioral Economics I would recommend this book.  I would encourage those who are acquainted with it to pass Misbehaving by.

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2019年2月20日 星期三

Albums That Changed My Life 2: Arthur Brown's Kingdom Come's "Journey"


Part of me wishes I could say I had a proper introduction to Arthur Brown, one that began with either The Crazy World of Arthur Brown or Galactic Zoo Dossier.  I think both of those albums are miles better than Journey, which is a little over-reliant on electronics.

But of course we can't choose how we first hear an artist, and in my case the first exposure to Arthur Brown consisted of Journey.

If you read the last Albums That Changed My Life, you'll know that my brother and I were fond of sitting in my grandparents' den (actually they called it a "sun room"), where we listened to the LPs gathered there.  These LPs were left there by my dad, who'd left them in a certain cabinet when he lived in that house.

Again, this was back in the early 80s, before CDs.  My brother and I listened to the records on a half-destroyed turntable, and I'm sure that in doing so we added even more scratches to those already well-loved vinyl discs.  I never got the feeling that my dad worried about these scratches, probably because these records were already somewhat warped/damaged and also because he had other copies elsewhere.

Next to our copy of the Conan the Barbarian soundtrack was Arthur Brown's Journey, which Wikipedia tells me was first released in 1973.  I'm sure it was an obscure album back then, and it's an even more obscure album now, but my dad had a fondness for anything British, progressive, or both.



I spent a long time staring at the cover of that album.  On our version there was an old man standing inside a tunnel of stars, with a ribbon bearing the title of the album (Journey) and the name of the band (Arthur Brown's Kingdom Come).  I often wondered what kind of being the old man was, and what place the tunnel of stars was leading to.

In all honesty, I can now say that Journey is far from the best thing that Arthur Brown (or his "Kingdom Come") ever did.  It's somewhat inventive, and it's got that early 70s trippiness, but it wasn't as good as either his breakthrough album or the two that followed it.  It's certainly better than its own follow up, Dance, but I imagine that anyone following Arthur Brown in the early 70s would have been somewhat disappointed by Journey.

Not that my brother and I knew this at the time.  We were content to study the album cover, and to enjoy the weird noises present in the music.  We liked singing along to "Time Captives" more than anything, in part because this song reminded us of Time Bandits, a film released around that time.

Of course I was very young then, and didn't renew my acquaintance with Arthur Brown until much later, but I think that what I initially got from his music was the idea that weird music wasn't just ok - it could also be great.  I knew, even at the age of seven or so, that what I was hearing in Journey wasn't the same as what I was hearing on the radio, and that this difference was a good thing.  I was of course too young to be pursuing exoticism for its own sake, but I was old enough to appreciate that what I was hearing was an attempt to create something new, something that stood apart from other music.  Now that I'm older, it would be easy to say that Arthur Brown and the other contributors to Journey were trying to create art, but I'm sure that in the early 80s I wouldn't have understood the term "art" in this way.

Given that it's 2019 now, I can easily look up Arthur Brown on Wikipedia.  But even if I couldn't I could still tell you that his music influenced heavy metal, progressive rock and glam rock, and that his hit single "Fire" was a kind of organ-driven, prototypical heavy metal anthem before the term "heavy metal" was in widespread use.  I can also tell you that he's appeared in both The Who's Tommy and a video for The Darkness.  I can tell you he was one of the first people to use a drum machine, and that this drum machine, the Bentley Rhythm Ace, appears on Journey.  I can tell you that the guy has led quite a life, and even now he shows no signs of slowing down.

But all of that is after the fact.  Back in the early 80s, back in that den, we were all about the music, and all about the sounds being created.  We didn't really know what we were listening to, we didn't know how it was made, but we knew that it was weird, and we knew that we liked it.



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2019年2月13日 星期三

Albums That Changed My Life 1: Conan the Barbarian


Early 80s, right?  I must have been 7 or 8 years old.  I wasn't allowed to see Conan the Barbarian in the theater, because it was rated R and I was too little.

To fully visualize the scene, you'll have to remember that back in 82 or 83 a lot of us didn't even have VHS players.  TVs were CRT (cathode ray tube) back then, so no digital/flat screens.  No one had cell phones, there were only a few channels on the TV, and "cable" (extra channels) was just then becoming popular.  Movies, in other words, were a much more precious commodity, and if you missed a movie in the theater you probably wouldn't have the chance to see it again for a long while.

So there me and my brother were, sitting in the den at my grandfather's house, listening to the LP (long-player, or vinyl record) of Conan the Barbarian.  Serious though.  We owned the album.  We sat there and listened while a narrator detailed the events of the movie, with sound effects and bits of dialogue from the film thrown in to enhance the experience.  Layered over all of it was the music of Basil Poledouris, drums pounding and chorus chanting away.

As I would later learn, Poledouris had borrowed heavily from other composers when putting this soundtrack together.  You can hear bits of Carmina Burana in it, as well as some of the Russian composers and borrowings from Poledouris' Greek heritage.  It's definitely one of the best soundtracks of all time, and I don't think Poledouris ever equaled it.

My brother and I were also obsessed with the album.  I have fond memories of pulling it from the cabinet where it resided, taking the vinyl from the cardboard sleeve, and losing myself in the sound of swords clashing and horses galloping across barren wastes.  Looking back on it now, I can see that the Conan the Barbarian soundtrack was my introduction to not only sword and sorcery, but also to classical music.

I almost feel sorry for kids nowadays, given the ease of acquiring media and seeing all kinds of films.  It must be a lot harder for them to get lost inside an audio recording the way my brother and I did, to concentrate so intently upon a story told in words, music and sound effects.  I loved Conan the Barbarian so much that I was almost disappointed when I finally saw the movie, mostly because parts of it loomed so much larger in my imagination.  Seeing it on screen diminished it in some ways, made it less epic.

Listening to it now, I can still appreciate what Poledouris was trying to do.  He was conjuring up a world before recorded history, bits of which - through music - persisted up to the present day.  I think that in the attempt he was largely successful, though of course now that I know more about classical music I can hear more of his influences in Conan the Barbarian.

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2019年2月12日 星期二

"The Fishermen" by Chigozie Obioma (2015)


"In the fullness of time, the madman became a menace, a terror in the town.  The song he sang after every prophecy became known by almost every inhabitant of the town, and they dreaded it."

Chigozie Obioma is originally from Akure, Nigeria, where this novel is set.  He teaches Creative Writing and Literature at the University of Nebraska-Lincoln, and The Fishermen is his first novel.

In The Fishermen four brothers cross paths with the town prophet.  After the prophet tells them that betrayal waits in their future, the four brothers argue over what this prophecy means, and how they should best deal with it.

In terms of writing style The Fishermen resembles other books I've read by Nigerian authors, namely Americanah and Things Fall Apart.  The author of The Fishermen even mentions Things Fall Apart in the book, so I can only assume it was an influence.

The Fisherman is full of many African tropes such as comparing people to animals, tribal politics and governments led by charismatic strongmen, but where Americanah and Things Fall Apart offer these things and more, The Fishermen only offers more of the same, all without any real sense of place to tie the people and things that populate this book together.  

What's more, The Fishermen doesn't really hang together as a novel.  It's too episodic, and feels more like a collection of short stories that might have been better if told in isolation.  It doesn't seem to have a beginning, middle and end.  It's rather a beginning, and nothing more.

Strangely enough, this novel was shortlisted for the Man Booker Prize.  To me this would seem to indicate that such awards are attempting to over-represent African/third world/black authors, because this novel, taken on its own merits, certainly doesn't deserve that kind of praise.

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