Mess, Stink, Love, and Humidity: The Paperboy

Pauline Kael famously said, “Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.” If you haven’t heard it yet in reference to The Paperboy, I assure you that you will soon, again and again. It’s an apt, if oversimplified, comment on the kind of experience Lee Daniels’ new film delivers to the audience. An uneven mess? Yes. A sexy, seductive thriller? Yup. A tonal piecemeal of bizarre scene after bizarre scene? Of course. Yet, somehow, The Paperboy doesn’t alienate as much as intoxicate. By the end, you get the feeling that you too are fatigued by the rampant humidly, in deep need of a beer, and mentally lusting after Nicole Kidman’s long, sweaty legs. It’s not pornographic, so much as spiritual in the Flannery O’Connor/William Faulkner sort of way. Perhaps, the disjointed relation between film and audience is precisely what Daniels’ strange film was intending, but God only knows.

The Paperboy tells the story of Jack (Efron), a young man at the cusp of adulthood, who gets tangled in the most bizarre murder mystery and trap of sexual desire imaginable. Jack’s dad runs the local Florida newspaper and his brother Ward (McConaughey) is a homosexual writer for the Miami Times. Ward comes back to town with a British black man named Yardley (Oyelowo) to investigate whether a convicted murderer, Hillary Van Wetter (Cusack), was wrongfully accused. Charlotte Bless (Kidman), a horny woman who likes to write letters to prison inmates, joins the fray as she has apparently fallen for Hillary. The sexual passion Jack begins to feel for Charlotte generates the majority of screen time, as the investigation acts only as a background thread to bind the crazed characters together.

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Gere Dance: The Cotton Club (1984)

When cast well, Richard Gere has the unique ability to come off as the most vulnerable, yet dapper, privileged man alive. Like no other, Gere has the capacity to make us commoners sympathize with the needs and struggles of those cradled in the lap of luxury. When cast poorly, Gere shows up in scenes with a pained grin, like a cardboard cutout, confused why he’s even there. What the actor possesses as a master of seduction descends into the realm of parody per force. For the majority of Francis Ford Coppola’s The Cotton Club, Gere can’t help but play the latter. Fit with lavish costumes and detailed production design, only the decor of this period piece can keep it from being a complete mess.

Richard Gere portrays Dixie Dwyer, a handsome and talented cornet player who gets mixed up with the mob at Chicago’s famed Cotton Club. After saving the life of a gruesome criminal named Dutch Shultz, Dwyer gets taken into Shultz’s dangerous circle. His first job is to take care of Shultz’s wife, Vera, (a la Vincent Vega and Mia Wallace) as a way to become a closer part of the “family.” Dwyer reluctantly starts to fall for the beautiful woman – played with an adolescent sexuality by the cherub-faced Diane Lane. Stuck without his freedom, and increasingly frustrated by his lack of a musical career, Dwyer connects with another mafioso – the Cotton Club owner Owney Madden – and winds up going out to Hollywood to be a star. Breaking free from the psychotic gangster, Dwyer plays mobsters in the movies. Successfully becoming an individual, Dwyer eventually gets to play the Cotton Club and Shultz gets his comeuppance at the hands of Madden’s gang.

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OSCAR FORECAST: Best Original Song 2013

Best Original Song Predictions (10/05/12):
Strange Love, Karen O (Frankenweenie)
Midnight Run, Willie Nelson (Lawless)
Celebrate, Jennifer Hudson/Whitney Houston (Sparkle)
Skyfall, Adele (Skyfall)
Learn Me Right, Birdy/Mumford and Sons (Brave)

Best Original Song: Even with the new rules put in place to save this category from extinction, it’s wishful thinking to assume that the year will be filled with all the exciting new acts that have eligible songs. Or is it? If the academy actually starts accepting younger, fresher voices, the telecast could offer a dynamic range of performances from Katy Perry and Florence + The Machine to Karen O and Willie Nelson. Nothing against Randy Newman, but I’d be more than happy to see his brand of Hollywood diddy absent from this year’s nominations.

There’s always a question of eligibility in the music categories. This year, Adele’s “Skyfall” – a song I adore – could be nixed for it’s use of the Bond theme music. If it’s eligible, I’d imagine the Academy would have to be blind (or deaf) to avoid this one. Away from the niche edge of of Karen O or Katy Perry, Adele’s brand of vocals unites instead of separates. She’s a universally loved artist with a song in a much loved franchise – one recently given a more respected reboot. For Adele, I’d say it’s just a matter of eligibility.

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Adele’s Skyfall (official this time)

The song has now officially hit the web. A long, dark, and looming progression lends the song a sweeping scope that’s grand yet foreboding. Adele’s voice crackles with spirit as it emerges from under the epic instrumentals of a 77-piece orchestra. The pull and tug of her powerful vocals and the classic Bond theme make this something very special to hear. Yet another reason to be excited about Sam Mendes’ vision for the film.

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OSCAR FORECAST: Best Editing 2013

Best Editing Predictions (as of 10/04/12):
Argo, William Goldenberg
Life of Pi, 
Tim Squyres
Lincoln, Michael Kahn
Django Unchained, Fred Raskin
Zero Dark ThirtyDylan Tichenor

Best Editing: I love this category. I’m not sure why, but this one may be the one that excites me most. Perhaps it’s the fact that I discovered a link between Best Picture and Best Editing when I was young, a fact that’s less interesting now than it was then. Perhaps it’s the surprises, such as Black Hawk Down winning in 2002 or The Girl with the Dragon Tattoo winning last year. Maybe it’s the fact that the average person at least “gets” what editing is and therefore must think about the craft of filmmaking on a more intellectual level when this category comes about. Whatever the reason, I really like the Best Editing category.

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New Lincoln Trailer: Unite

I can’t help but wonder if the small, but ever-present, backlash towards the previous trailer caused an entire re-thinking of this one. With the usage of nostalgic imagery from throughout the history of our nation, this new spot seems to be yelling for us to understand the film’s relevancy to the zeitgeist. In case we didn’t know how important Abraham Lincoln was, this new film will tell us – broadly, sentimentally. The actual footage from the film (assuming the general Americana stuff won’t be apart) looks pretty much the same as the old one. Could this be a band-aid on a bullet hole? I don’t know why, but I can’t get on board for this movie. I just feel like something new about Lincoln, something intimate or unknown, would have to be probed for this film to have a purpose. Otherwise, I keep wondering, “What the point?” See John Ford’s Young Mr. Lincoln for an excellent look at the man.

Either way, here’s the spot:

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Adele’s Skyfall Song Preview

NOTE: The leaked song has been removed for copyright reasons. Guess we have to wait till Friday. 

I know this is just a leak of the song that will bow in its entirety on Friday, but I had to post this immediately. My surprising excitement for Skyfall has grown to new heights after hearing this tune by Adele. Her voice seems built for the Bond world. There’s a unique innocence to her vocal range. The swell of voice and instruments towards the end is the most exciting movie arrangement I’ve heard in a long time. Maybe the rest of the song will be a let down, but I really like what I’ve heard so far.

The Oscar race for Best Original Song may be shaping up to undo the two-nominee debacle from last year. Strangely female (in a good way), heavy hitters like Karen O, Katy Perry, Norah Jones, and, of course, Adele all have songs in play. Hopefully the songs will be enticing enough to bring the performances back to the live show. Imagine Adele’s “Skyfall” followed onstage by Karen O’s “Strange Love.”

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Will Flight Tear Up Oscar Season?

The trailer looks like it has Oscar written all over it. Robert Zemeckis has the chops to make interesting films with a whole lot of heart. When Denzel turns the volume to 11, he can shake the cage like no other actor working today. The internet Oscar peeps are buzzing with anticipation. Billboards are plastered all over Los Angeles. The new poster (see below) looks like something very special. Paramount Pictures obviously thinks they have a winner. Will Flight soar into Oscar season as a late season shocker? In a year that’s very open, with no film yet uniting critics and audiences the way The Artist, The Social Network, The Hurt Locker, and Slumdog Millionaire had in previous years, Zemeckis’ return to live action filmmaking might be the film to beat come awards season.

Flight sees the light of day at the New York Film Festival on October 14th. By the time it opens theatrically on November 2nd, we should know whether it’s the real deal or not. I, for one, am rooting for this one to be a hit. Death Becomes Her and Cast Away are two of my favorite films of the past two decades. I love how Zemeckis has the rare ability to turn a Hollywood sense into a heartfelt smallness that entertains while also engaging in a relatable way. He doesn’t always succeed, but he always gives it all the soul he has. In some ways, he may be the last classic Hollywood director left working today.

Click below to see the new Flight poster:

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Occupy, One of a Kind, and the Evolution of Dr. Pepper

A recent Dr. Pepper Facebook ad, depicting the evolution of the soft drink along with the evolution of man, has some Christian groups outraged. On the tails of Chick-Fil-A’s similar, but very different, open stance against gay marriage, one has to wonder how corporate efforts to penetrate an ever-shrinking marketplace will continue to divide as much as entice. The irony, of course, is in how telling a discourse this contention really is. The black and white, liberal vs. conservative debate has strayed from the hot button topics such as the death penalty or abortion and into support of one consumerist, unhealthy piece of merchandise or another. I know, I know, it’s actually about what these corporate giants stand for, but are we wasting our breath worrying about their opinions? Corporate influence has never been more pronounced, so perhaps not.

The recent Dr. Pepper ad had me thinking of another one of the brand’s ads from earlier this year:

I was sure that the usage of “Occupy Wall Street”-like production design would spark a tizzy. Instead, this commercial seemed to fly under the radar, though it does spell a subtle shift in tides for soft drink companies.

In the commercial, young people (and this is the key) are seen wearing t-shirts that promote his or her “one of a kind” individuality. One shirt says, “I’m a dreamer,” as though linking the fight for civil rights to the mostly student loan debt induced Occupy movements. The playful protest posturing is a glaring metaphor for the global unrest we’ve seen in the past two years.

While Dr. Pepper may be privately owned, it takes it’s lead from the likes of partial non-competitors such as PepsiCo and Coca-Cola. The latter may only trail Nike for name brand recognition in the way of corporate evilness. Coca-Cola is the most recognized brand in the world, therefore, the reach must not only appeal to Americans but to a growing global audience. Young people buy products, young people want to believe they are different, and young people are the most likely to denounce religion for more “practical” ways of living, so the newest ad from Dr. Pepper only makes sense within this marketing model.

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Homeland, Ep. 201: The Smile

Between it’s stirring Season One finale and it’s Season Two premiere, much has been written about Homeland’s unique rise into the pantheon of contemporary television. Contemplation has gown over whether the show may be a digression back into forced drama or a sleight-of-hand addition to the topical, yet nuanced, likes of Mad Men and The Wire. Now Showtime’s first Emmy winner for Best Drama, Homeland’s polarizing response has only heightened the anticipation for its newest season. The premiere appeared this past Sunday, bringing with it all the mixed bag of tricks that made the first season such fascinating TV.

What most critics have pointed to as the challenging similarities between network dramas and Homeland, are the exaggerated political underpinnings reminiscent of West Wing or the dramatic fireworks similar to 24 (Homeland’s creators also conceived that ABC hit) or the unabashed use of cliffhangers to keep you hooked in. There’s also the linear plot line from one episode to another. A concept that runs counter to the elliptical dramas made popular by The Sopranos and The Wire.

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