Get Low

Artwork and Review By: Daniel Albert

Get Low, despite its list of high profile actors, is probably a film that flew under a lot of people's radars.  This could be for a variety of reasons.  The marketing budget was probably the size of something somewhere between Thumbelina's bathtub and Lincoln's chin hairs on a penny.  The director Aaron Schneider isn't exactly a household name, in lieu of the fact that he is the man behind the lens on several hollywood hits (cinematographer on Kiss the Girls and Director of Photography on Titanic).  Or it may just of have been unclear to viewers what type of movie Get Low is, a comedy or a drama, as scenes in the trailer misled the public into thinking one way or another what to expect.

              

I however, like all good critics, tried my damndest to go into Get Low with no expectations or preconcieved notions, a feat, although difficult, that seemed to pay dividends.  The film is a period piece set in the 1930's telling the part tall tale, part truth story of Tennessee hermit Felix Bush's self thrown live-in funeral.  With a synopsis like that it's no wonder that people had trouble trying to peg this movie down.

Obviously with an all-star cast, acting is not a problem for the film.  Everyone plays their role superbly, although the purpose of such roles are not clearly defined.  At times funeral director Frank Quinn (played by Bill Murray) seems a bit out of place.  With that said he adds a lightness to the film, which would border on too dark without it.  Juxtaposed with the humor is a taught drama involving an ambiguous fire, the films first frames, setting up an intriguing mystery involving the self forced exile of Felix Bush.

Also, with a skilled cinematographer like Schneider the overall look of the film is not only consistent, but beautifully accurate, especially when it comes to the tone of a movie set in the 1930's.  The problem is, there are shots interjected that serve no purpose, introducing storylines that aren't developed, leading the audience in a mulitiude of directions, only to backtrack them to the main plot moments later by sweeping entire sideplots (or at least what seems like sideplots), under the rug.

Had I gone into the film looking for a comedy I would have been sorely dissapointed, and likewise would I have left upset if I was looking for an Oscar worthy drama.  But going in with an open mind, what I got was a middle of the road film leaning closer to the exceptional end of the spectrum than the turkey end. 

Artwork and Review By: Daniel Albert

As my excitement to see yet another Coen Brothers take on the old west grew to a fever pitch, True Grit started to worry me.  I tried to block out all the praise I was hearing to avoid putting the film on a pedestal before I even set foot in a theatre, as I wanted to view it with a completely fresh approach.  This is also the reason I chose to forego seeing the John Wayne original (a classic in its own right), allowing myself an uninfluenced and unbiased opinion of the film.

What I found upon watching it was pretty standard Coen Brothers.  Vibrant dialogue, stunning visuals, and an overall sense of urgency that keeps the pace on point and holds your attention until the final frame.  However there was something not right about the film as a whole when I finished watching it and I couldn't quite put my finger on it.

Was it the acting? Jeff Bridges version of Rooster Cogburn is untouchable and newcomer Hailee Stanfield (as Mattie Ross) holds her own against her Hollywood heavyweight counterparts, without skipping a beat.  Hell even Barry Pepper, who in my opinion seems to steal the show at times to become a more important foe than Josh Brolin's Tom Chaney, is impeccible in his scenes, as is Matt Damon as LeBeouf.

So if it wasn't the scenery, which in the hands of the Coen brothers seems otherworldly in its beauty, or the acting, which again is spot on, what could it be?  Upon further contemplation I began to piece it together.

As the film approached its climactic confrontation I found myself trying to guess what the big twist would be.  Would Rooster die? Would Mattie? Would there be a huge train chase or a saloon gunfight?  I sat and waited yet no big twist came. What transpired was completely straightforward film making, which was very well done, but it left me wanting more.

Looking back now I realize the problem.  I've been so conditioned to feel like there has to be a huge twist in a film that I completely overlooked how refreshingly simple the outcome played out.  Not only was it satisfying but it was logical!  No leap of faith needed in order to maintain a suspension of disbelief.  It wasn't necessary at all for True Grit to conclude any other way, because the conclusion was poignant, elegant and completely in sync with the overall tone of the film.

Huge twist or not True Grit completely lived up to all the hype and then some, proving once again that Joel and Ethan Coen can put together a Western that'll put dust in your lungs.

Romancing the Film

A guide to using movies as a tool for love

By: Daniel Albert

What is the quintessential idea of a date? Dinner and a Movie, right? It’s understandable why dinner is part of the equation, but how did movies get such a prime position ? One could speculate at length why the art of film has such a foothold on the dating market, but my personal guess is that movies have always taken us to happier places. Places where the good guy always ends up with the girl; the girl always finds her prince charming; and love always, always, conquers all. Whether it be a romantic comedy, drama, or even an animated fairy tale, movies will always be a sure bet as long as you spend it with that special someone. So as part of this month’s Art & Romance issue we’ve put together a list of both new and old movies that are sure to bring closer than ever, you and your significant other .



In Theaters:

Blue Valentine
Starring: Ryan Gosling, Michelle Williams
Opening: December 29th

This tale of love lost and found has battled its way from an NC-17 rating (for one supposedly graphic sex scene) back to an R which means it will be widely available, perhaps even into the month of February. The story is told using past and present instances of romantic memories as a couple struggles during a single night where they try to reconcile their relationship. If you can find it in a theater near you, jump at the chance to see it, as it has garnered a significant amount of awards talk for both Gosling and Williams’ performances.

Waiting for Forever

Starring: Rachel Bilson, Tom Sturridge

Opening: February 4th

The first of our entries in the rom-com category (romantic comedy for those of you not into film jargon) is a Hollywood-set romantic tale of a guy who is content to live his life without a job yet with the love of his life, a young actress. The premise alone should set in motion some pretty interesting laughs, while still keeping a tangible sense of reality in how their relationship plays out. This is considered an indie film, however, so it may not be a good fit for those who’d rather see only A-listers.

Just Go With It
Starring: Adam Sandler, Jennifer Aniston
Opening: February 11th

This is the romantic comedy for those looking for the A-listers. Adam Sandler and Jennifer Aniston bring this story to life of a man who enlists the help of a woman and her kids to land the woman of his dreams. Lemme guess— they’re gonna fall in love instead? Ok so maybe it’s predictable, but I would’ve thought the same thing about 50 First Dates and Sandler was able to pull that one off, so I think we can give this one a chance, even if it’s a slight one.

Gnomeo and Juliet
Starring: James McAvoy, Emily Blunt, Michael Caine, Maggie Smith
Opening: February 11th

The one and only animated feature on our list is a story about two love-struck garden gnomes who become caught up in a feud between neighbors. This clever riff on a Shakespearian classic is perfect for those who’ve already found love (and therefore have to bring their children along on their “date”). Movies like Despicable Me, How to Train Your Dragon and many others have proven that animated movies can not just be dismissed or you could miss out on good laughs and a touching story.



On DVD or Blu-Ray:

Casablanca
(1943)
Starring: Humphrey Bogart, Ingrid Bergman, Paul Henreid

Uh, it’s Casablanca! No further explanation needed

Say Anything
(1989)
Starring: John Cusack, Ione Skye

For anyone currently courting a significant other— watch this and take notes. Wielded properly, a boombox can become more potent than cupid’s arrow!

Groundhog Day
(1993)
Starring: Bill Murray, Andie McDowell

If you’re going to use comedy as your angle towards romance, go straight to the source. This tale of repetitious love sees Murray courting his love again and again until he gets it completely perfect. What could be more romantic! (and hilarious)

Sideways
(2004)
Starring: Paul Giamatti, Thomas Hayden Church, Sandra Oh, Virginia Madsen

Being a writer myself, I have a soft spot for this tale of a writer turned binger as a bachelor’s weekend in wine country turns into a nightmare in Napa. Equally funny and charming, this movie goes perfect with a nice Merlot.

Garden State
(2004)
Starring: Natalie Portman, Zach Braff, Peter Sarsgaard

Throw together quirky laughs and a heartwarming story about an unlikely pair and you’ll find Garden State. This is a perfect divining rod when it comes to finding out whether or not you and your significant other have a compatible sense of humor.

(500) Days of Summer
(2009)
Starring: Joseph Gordon Levitt, Zooey Daschanel

This refreshingly honest romantic comedy might be good for the couple on the rocks. Although it will force you to take a good look at that special someone, it ultimately offers a message of hope for those hopeless romantics.



THE SOCIAL NETWORK

Artwork and Review By: Daniel Albert

Upon immediate viewing of the trailer for David Fincher's most recent, and most poignant, biopic-esque film The Social Network, I was hooked.  Also being a fan of the man's work didn't hurt.  With films like Seven, Fight Club, and The Game I knew from the get go this wasn't just a movie about a social networking website.  Imagine my surprise when quite a few people I knew had no desire to see it stating "It looks so stupid who wants to watch a movie about Facebook?"

Were they even paying attention?  The trailers for The Social Network were so obviously beyond just a "Facebook Movie" that I legitimately got upset at the ignorance with which it was cast aside.

Upon viewing I was proven correct.  The Social Network is surely this generation's most socially conscious yet dramatically traditional film.  Every key aspect of a well plotted drama is there; friendship, love, betrayal, sex, humor, violence, Fincher's film has it all.

While it is indeed the story of the founder of Facebook Mark Zuckerberg (played exceptionally by Jesse Eisenberg), this plotline ends up being only a sliver of the film as a whole.  Instead we get an onslaught of fully fleshed out characters all fighting for their piece of a multi-billion dollar idea.  The Winklevoss twins (portrayed through some exceptional cinematical magic by Armie Hammer) are the quinessential social elite, used to getting their way come hell or high water, refusing to give up what they claim is their original idea.  Edwuardo Saverin (played equally as well by Andrew Garfield, despite the Oscar snub) is the friend turned enemy as a simple idea turns into a virtual cash cow.  Other secondary characters such as Napster know-it-all Sean Parker (Justin Timberlake) and love interest/ex girlfriend Erica Albright (Rooney Mara) are a bit of exemplary casting that end up filling out the character list nicely.

It's these characters that form a sort of Ivy League melting pot that is not only believable, but extremely interesting.  Each has their own story to tell which ends up fitting together without the slightest gap, adding to the overall sense of low key drama within the film. 

Although it's been said (especially by Mark himself) that Eisenberg's mannerisms were indulgent and over the top it hardly matters.  Most of us will never meet Mark Zuckerberg and at the end of the day Eisenberg is portraying him, not mimicking him.  You want so bad to hate him for his condescending nature and shun him for his awkward social skills, but in the end you can't help but feel sorry for the guy.  That's how good the film is!  It has you feeling a bit sorry for a multi-billionaire!

Beautifully shot and overall compelling I'd add this movie to my friends list any day.

Rating: A

LET ME IN

Artwork and Review By: Daniel Albert


To begin let me say that Horror is not a genre I typically enjoy and in a time where Twihards rule the roost Let Me In had me more than a bit leary. Add to that the fact that this movie is a remake of an already largely popular Swedish version based on the Novel of the same name by Swedish writer John Ajvide Lindqvist and you have, to me at least, a recipe for disaster.

What I found during Let Me In however suprised me immensely. Instead of some Twilight love story rip-off, (which would've made me want to gouge my eyes out), the movie depicts a quirky love story where one of the characters happens to be a vampire. The story takes place in the 1980s which adds to the overall nostalgia of the film, as sprinkled throughout is the clever integration of bits of 80s pop culture.

The plot is essentially about a young boy named Owen (Kodi Smit-McPhee) who is constantly bullied at school.  When a strange new girl named Abby (Chloe Moretz) moves in with her guardian (Richard Jenkins), Owen jumps at the chance to befriend her, longing for some kind of companionship, despite her original resistance to their relationship.  As the story progresses we realize that Abby is actually a vampire with an aged mind trapped in the body of a 12 year old girl.

From here the movie could've gone in a million different directions.  It could've played out like a typical slasher film killing off characters one by one or a sappy "oh woah is me, I'm a baby vampire" flick (despite the fact this actually worked in Interview with the Vampire), but it doesn't play out like a horror film at all. Instead Director Matt Reeves delivers an almost lyrical look at the troubles of childhood, bullying, and the progression of a great friendship between the two main characters.

What impressed me most about the film was how delicately each storyline was not only treated by the director, but acted by the characters.  We get to peek inside the psyche of each character individually, pulling the scope of the film well beyond the boundaries of normalcy.  Even secondary characters like Abby's guardian get more than a cursory glance as we watch him reach his wits end, a broken man commiting gruesome acts in order to provide for his child. 

As I said this before this movie hardly plays out like your typical horror movie.  However after viewing it I feel its placement in this category is the only logical choice that could be made.  Had Let Me In been put in any category but horror it would've been torn to shreds by critics at first sight of gore (and yes this movie has quite a bit).  That being said this movie actually has quite a few strategically placed laughs and moments so uncomfortable you can't help but chuckle with nervousness, adding some much needed innocence to a sometimes very dark film.  Overall a fine piece of film, both aestheically pleasing and more than adequately entertaining.

Rating: A



At The Center

Live Orange County Takes a Look at What’s Hot at the Performing Arts Center in the Month of January Written By: Daniel Albert

When it comes to the Arts, Orange County is rich in tradition. The city of Laguna has been a hotbed for art activity since the Sixties and as we progress further into the 21st century, Orange County continues to thrive with the expansion and addition of many galleries, theatre companies and contemporary art houses. But when it comes to the heart of Orange County Art culture there is only one place that comes to mind and that is the Orange County Performing Arts Center.

OCPAC got its start in the late seventies when the local Segerstrom family donated a 5-acre site for the original facility. Today,this magnificent center encompasses the 3,000-seat opera house style Segerstrom Hall, the 2,000-seat Renée and Henry Segerstrom Concert Hall, the 500-seat multi-functional Samueli Theater, 250-seat Founders Hall and 46,000-square-foot Community Plaza. In this multi-dimensional environment, OCPAC now offers the world’s leading dance companies, Broadway shows, award-winning classical, jazz and cabaret artists, family entertainment, special events and even year-round educational programs. In addition the OCPAC is also the home of three resident companies: Pacific Symphony, the Philharmonic Society of Orange County and Pacific Chorale.

As we move into 2011, OCPAC continues to provide the highest quality arts for Orange County Residents as it rolls out three great new shows that span the entire spectrum of entertainment. These shows are each unique and exciting, offering a welcomed change of pace from the usual fanfare.

The first featured show of the 2011 season will be offered January 14th-16th with the debut of Tango Buenos Aires, the world’s most acclaimed and authentic tango company. This highly lauded troupe returns to the Orange County Performing Arts Center’s Segerstrom Hall as audiences will experience the true spirit of this evocative art form with the company’s fast-paced rhythms and flawless synchronization. Tango Buenos Aires is an ensemble of Argentina’s leading dancers and musicians who will perform Fire and Passion of Tango, a new program that gives an insider’s look at the evolution of this international dance sensation, which has been hailed as “Dazzling!” by the Washington Post.

In addition, free tango lessons will be available on the Arts Plaza beginning at 6 p.m. prior to the January 14 (Friday) and 15 (Saturday) performances, to celebrate Tango Buenos Aires’ engagement. The lessons are free to Tango Buenos Aires ticket holders, as the dance parties are part of the Center’s “Free for All Series”, which offers the public opportunities to experience the Center in new and exciting ways – and all totally free.

Tickets to see Tango Buenos Aires start at $16 and are available online at OCPAC.org, at the Center’s Box Office at 600 Town Center Drive in Costa Mesa or by calling 714.556.2787. For inquiries about group ticket discounts for 15 or more, call the Group Services office at 714.755.0236.

On January 20-23, OCPAC continues its theme of dance with the world premiere dance showcase of Reflections. In order to bring this exclusive event to Orange County, the OCPAC has formed a new artistic

partnership with the famed Bolshoi Ballet. The Center and the Bolshoi have commissioned several new works created by many of today’s leading choreographers in order to showcase six extraordinary ballerinas, all who have trained at the Bolshoi Ballet Academy, including “Maria Kochetkova” of the San Francisco Ballet, “Yekaterina Krysanova”, “Natalia Osipova” and “Yekaterina Shipulina” of the Bolshoi Ballet, “Olga Malinovskaya” of the Ballet Estonia and “Polina Semionova” of the Berlin Staatsoper Ballet. They will be joined by four of the Bolshoi’s leading male dancers: Alexander Volchkov, Vyacheslav Lopatin, Denis Savin and Ivan Vasiliev.

“We believe our audiences will be thrilled by the world premieres and breathtaking dance at the heart of Reflections,” OCPAC President Terry Dwyer said. “Our partnership with the Bolshoi Ballet and Ardani Artists has enabled us to premiere this ambitious project at the Center and to share the work of its extraordinary artists with all of Orange County. With Reflections, the Center’s goal is to inspire a legion of new dance fans, strengthen our reputation as one of the nation’s premier presenters of great dance and to contribute to the dynamic cultural scene in Orange County.”

Tickets are available online at OCPAC.org, at the Center’s Box Office at 600 Town Center Drive in Costa Mesa or by calling 714.556.2787, starting at just $14. In addition there will be free preview lectures one hour prior to each performance, while guests are encouraged to consider that artists and programs are subject to change.

Finally the Orange County Performing Arts Center finishes January in style with the 2009 Tony Award-winning Best Musical Revival HAIR: The American Tribal Love-Rock Musical, which will begin on January 25th and continue on until February 6th. With a score including such enduring musical numbers as Let the Sun Shine In, Aquarius, Hair and Good Morning Starshine, this one of a kind musical depicts the birth of a cultural movement in the ‘60s and ‘70s that changed America forever. The musical follows a group of hopeful, free-spirited young people who advocate a lifestyle of pacifism and free-love in a society riddled with intolerance and brutality during the Vietnam War. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the show resonates with an irresistible message of hope more than 40 years after it first opened on Broadway. According to the New York Times “Diane Paulus’s THRILLING, EMOTIONALLY RICH production delivers INTENSE, UNADULTERATED JOY". This is surely one that you won’t want to miss.

Single ticket prices will start at $20 and may be purchased online at the Center’s Box Office. Also the OCPAC will offer a special 2 p.m. performance on Saturday, February 5th, that will be sign-language interpreted for the hearing impaired.

With a rich history and newly developed exclusive shows, The Orange County Performing Arts Center continues to thrive as Orange County’s premiere location for arts and entertainment. Whether it be irresistible sensuality with Tango Buenos Aires, the grace and beauty of ballet in Reflections, or the fun and spirit of Broadway in Hair, January at the Center truly shines and shows us why OCPAC is OC’s own precious gem.



The Fighter

Artwork and Review By: Daniel Albert

Going into The Fighter I wasn't really sure what to expect. Of course I knew it was about boxing and also that it was based on a true story, but those are the only two things I really knew about it, so I wondered what was in store.  Would I find a Raging Bull reboot?  Or maybe some cheesy reincarnation of the Rocky saga? 

I was pleasantly surprised to find that The Fighter was neither.  Instead of a formulaic "climb to the top" type fight flick, The Fighter actually proved to be quite complex.  That's not to say the story doesn't follow a common character arc, it certainly does, but instead of following the life of just the boxer in the ring we also follow the one struggling to get back in. 

At a glance most would suspect The Fighter is about "Irish" Micky Ward (played deftly by Mark Wahlberg).  Ward has become known as a stepping stone in his small hometown of Lowell after several tough losses mostly in part due to poor management from his mother.  But as the camera pans out and our point of view broadens we begin to see another fighter, brother turned trainer and ex-boxing pro Dicky Eklund (Christian Bale). Dicky is also partially to blame for Ward's slump as his crack addiction and lackadaisical attitude towards training hinder Ward's preperation dramatically.

It would've been possible for Director David O'Russell to focus on Ward's ascension individually, but half the film would've been lost.  At times Bale's portrayal of Eklund, the one time all-star of Lowell who "knocked down" Sugar Ray-Leonard, outshines everyone including Wahlberg, giving nuance to one of the best performances of his career.  Dicky's drug addiction, which he uses to blind himself from the fact that he's been riding his famed coattails for much too long, becomes almost as much of a central part in the movie as Ward's title fight, as we get to see fictionally the filming of a real HBO Documentary: High On Crack Street: Lost Lives in Lowell.

With the addition of this storyline comes the depth of Wahlberg's character.  Not only does he have to train to fight in the ring, but he also has to battle his way from out of his brother's shadow.  In addition he has to tread lightly on the decision of whether to cut his family loose and perhaps get the quality training he deserves or keep his family in charge and possibly ruin his career, and his life, forever.

When the time comes for the actual scene of the title fight you're so emotionally involved with the characters you can't help but root for Ward.  Not only that, but the cinematography is so pitch perfect that it doesn't feel stilted or recycled, but instead fresh and exhilerating.  Sure you've seen boxing before in movies, but overall this movie plays out like there was a drama being filmed and then a fight broke out.

Rating: A