Star tattoo on the front shoulder with fine detailed patterns and colors;
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Thursday, June 18, 2009
Flower Designs Side Tattoo
Black and gray tattoo of flowers and vines, a girls side tattoo; freehanded vegetation and lily flowers.
Technorati Tags: tattoo,tattoos, tattoo ideas, tattoo designs, tatoos, tattos
Monday, June 15, 2009
Despite The Cloying Quirks, THE BROTHERS BLOOM Works
THE BROTHERS BLOOM (Dir. Rian Johnson, 2009)
The opening set-up montage featuring the title's namesakes as kids is narrated by the voice of the actor, writer, and smooth magician Ricky Jay. Jay did the same duties for the striking beginning of MAGNOLIA 10 years ago so he lends an air of familiarity immediately to the punchy proceedings. Likewise, straight out of the Wes Anderson playbook, comes another montage in which Rachel Weisz displays how she "collects hobbies". These devices recall the notion of a sea of quirk that Michael Hirschorn of the Atlantic envisioned a few years back ("Quirked Around" Sept. 2007). Hirschorn wrote that due to the likes of the Andersons (both Wes and Paul Thomas) and their peers, there was a threat that indie cinema could drown in quirk.
It's an empty threat though; quirky characters in strained, possibly life endangering situations - the 'cinema of cringing' it could be called - have been the norm since the dawn of movie history. THE BROTHERS BLOOM, about con-artist brothers (Adrian Brody and Mark Ruffalo), has many bits that feel like re-fried quirk from other flicks, yet it still works, gloriously too at times.
For some reason Brody is called Bloom while Ruffalo goes by Stephen so the title I do not get * but whatever. Brody, tired of an endless series of cons, decides he wants the "unwritten life" but Ruffalo gets him to go on one last big score. Of course, a woman (Weisz) fouls things up and twists them around and around in their little art smuggling scam. Brody says of his brother's cons that they are like the narratives of some Russian novelist, containing “thematic arcs and shit.” We're swept through scene after scene of double crossing with some predictable turns, yet just like the quirks they can be forgiven with such a capable cast and a not too clever for its own good tone.
Brody and Ruffalo carry THE BROTHERS BLOOM and play off each other with the believable edge of siblings. Wiesz gels well with them too even with her sitcom girlfriend vibe going strong. The film shows director Johnson getting comfy with comedy, though it must be said that it isn't quite on the level of his previous dramatic work - the brilliant BRICK. Without a doubt, the stale "style over substance" complaint will be used in many reviews but many moviegoers will enjoy swimming in this particular sea of quirks.
* Looks like no less than Roger Ebert didn't get this either so I don't feel as bad.
More later...
The opening set-up montage featuring the title's namesakes as kids is narrated by the voice of the actor, writer, and smooth magician Ricky Jay. Jay did the same duties for the striking beginning of MAGNOLIA 10 years ago so he lends an air of familiarity immediately to the punchy proceedings. Likewise, straight out of the Wes Anderson playbook, comes another montage in which Rachel Weisz displays how she "collects hobbies". These devices recall the notion of a sea of quirk that Michael Hirschorn of the Atlantic envisioned a few years back ("Quirked Around" Sept. 2007). Hirschorn wrote that due to the likes of the Andersons (both Wes and Paul Thomas) and their peers, there was a threat that indie cinema could drown in quirk. It's an empty threat though; quirky characters in strained, possibly life endangering situations - the 'cinema of cringing' it could be called - have been the norm since the dawn of movie history. THE BROTHERS BLOOM, about con-artist brothers (Adrian Brody and Mark Ruffalo), has many bits that feel like re-fried quirk from other flicks, yet it still works, gloriously too at times.
For some reason Brody is called Bloom while Ruffalo goes by Stephen so the title I do not get * but whatever. Brody, tired of an endless series of cons, decides he wants the "unwritten life" but Ruffalo gets him to go on one last big score. Of course, a woman (Weisz) fouls things up and twists them around and around in their little art smuggling scam. Brody says of his brother's cons that they are like the narratives of some Russian novelist, containing “thematic arcs and shit.” We're swept through scene after scene of double crossing with some predictable turns, yet just like the quirks they can be forgiven with such a capable cast and a not too clever for its own good tone.
Brody and Ruffalo carry THE BROTHERS BLOOM and play off each other with the believable edge of siblings. Wiesz gels well with them too even with her sitcom girlfriend vibe going strong. The film shows director Johnson getting comfy with comedy, though it must be said that it isn't quite on the level of his previous dramatic work - the brilliant BRICK. Without a doubt, the stale "style over substance" complaint will be used in many reviews but many moviegoers will enjoy swimming in this particular sea of quirks.
* Looks like no less than Roger Ebert didn't get this either so I don't feel as bad.
More later...
Saturday, June 13, 2009
Hey, I Finally Saw...THE ROCKY HORROR PICTURE SHOW!
For almost 20 years the Rialto Theater in Raleigh has presented the cult classic THE ROCKY HORROR PICTURE SHOW every Friday at Midnight. Despite hearing many amusing tales of sordid audience-interactive escapades that would occur during each showing, I had never attended before last night. I have seen parts of the movie on television and have heard songs from the soundtrack but knew those didn't count compared to the actual experience. However I didn't expect to be branded a "virgin" with a lipstick "v" on my head and forced to do a dance move twist in a line mashed together with other virgins - but hey! If that's the drill then so be it.My wife told me that it wasn't quite like the ROCKY HORROR shows she had seen in the past. Some of the "call backs" were new additions with recent references which I'm told on the internets, if applauded, are added to the ongoing repertoire. She also said the "underwear run" wasn't a part of any of the shows she had been to before (she had seen RHPS countless times at the now defunct AMC Fashion Village 8 in Orlando, Florida back in the late 80's and early 90's).
You might notice I'm not speaking about the plot (or lack thereof) and that's because it's the least important part of the whole shebang. The premise of a conservative couple (Barry Bostwick and Susan Sarandon - "Saran-wrap" goes one of the "call-backs") who, one dark and dreary evening, find themselves in a castle surrounded by sexual deviants holding an Annual Transylvanian Convention is just an excuse for extravagant musical numbers and outrageous sci-fi shenanigans. Tim Curry's transsexual Dr. Frank N. Furter with his Mick Jaggeresque delivery and slimy charm steals the show, but he has stiff competition from Meat Loaf in one uproarious rowdy rock number.
As a "movie guy" who just moved to Raleigh, I couldn't go much longer without finally taking in the Rialto tradition of RHPS. It didn't disappoint and it was fascinating to find out afterwards that the players call themselves The Low Down Cheap Little Punks - here's their website.If you haven't seen THE ROCKY HORROR PICTURE SHOW - I bet there's a theater near you that has the same tradition albeit likely different presentations. It's impressive that this film that originally flopped and was bashed by critics became the ultimate midnight movie celebrated in cities all over the world every weekend. It's a great legacy for what is, honestly, a weird-ass kind of crappy movie. Without a doubt, the soundtrack and the outrageous spirit of it all win out at every show.
More later...
Sunday, June 7, 2009
Aging Struggling Metal Band Hasn't Spinal Tapped Out
ANVIL! THE STORY OF ANVIL (Dir. Sasha Gervasi, 2008)
A handful of rock documentaries including METALLICA: SOME KIND OF MONSTER and DiG! have been dubbed "the real life Spinal Tap" before, but this examination of who one fan calls "the demi-Gods of Canadian metal" definitely comes the closest to resembling that seminal 1984 hard rock doc satire. From the shining silver lettering of the band name to their over the top stage antics (I can totally see Nigel Tufnel playing a guitar with a dildo) to the mishandled gigs and then there's even the drummer's name being Robb Reiner, so we've definitely got a winner in the true-life Spinal Tap sweepstakes. Hell, their amps actually go to 11 and they even go to Stonehenge - not just sing about it.
The thing is, these are real guys who have struggled in the low tiers of heavy metal for years and through all the hilarity a touching pathos forms for their perseverance. Now in their 50's, guitarist/frontman Steve "Lips" Kudlow works for a children's catering company while Reiner does odd construction jobs between tours that are becoming less and less frequent. Lips is the de facto narrator taking us through a disastrous European tour complete with a screaming irate manager, poor attendance, and non paying promoters. A bit down, but not out, they return home to focus on making their 13th album which involves raising a hefty sum in order to secure studio time with infamous metal producer Chris Tsangarides.
More later...
A handful of rock documentaries including METALLICA: SOME KIND OF MONSTER and DiG! have been dubbed "the real life Spinal Tap" before, but this examination of who one fan calls "the demi-Gods of Canadian metal" definitely comes the closest to resembling that seminal 1984 hard rock doc satire. From the shining silver lettering of the band name to their over the top stage antics (I can totally see Nigel Tufnel playing a guitar with a dildo) to the mishandled gigs and then there's even the drummer's name being Robb Reiner, so we've definitely got a winner in the true-life Spinal Tap sweepstakes. Hell, their amps actually go to 11 and they even go to Stonehenge - not just sing about it.
They squabble during production yet are immensely proud of the disc they deliver. Trouble is, no record label wants it so they distribute it themselves. In the end, just like in THIS IS SPINAL TAP, there's always Japan. Filmed lovingly by a former roadie (who incidentally went on to co-write the screenplay for one of Steven Spielberg's worst movies: THE TERMINAL), ANVIL! THE STORY OF ANVIL (love that wonderfully redundant title) isn't just one of the best rock documentaries of the last decade, it's one of the funniest films I've seen in ages - I laughed so hard that tears flowed at an 80's clip of Anvil appearing on some afternoon "issues" TV show (think a destitute woman's Sally Jessie Raphel) with the lyrics of an early crude song ("Toe Jam") being soberly recited. And speaking of tears, I was surprised to see so many shed by the participants (mostly Lips and his family members) throughout this film.
It's weird but, I actually care about this band now (honestly though, I don't think I'll listen to their music) and think it's great they are on the movie map. Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it. It's a hilarious and touching movie about pursuing one's dreams, at all costs (or none), even if they appear to be adolescent pipe dreams to a huge portion of the population. Pete Townshend once said: "Rock 'n roll can't solve your problems, but it can help you dance all over them." With ANVIL! make that "fist-pump and thrash" all over them too.
It's weird but, I actually care about this band now (honestly though, I don't think I'll listen to their music) and think it's great they are on the movie map. Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it. It's a hilarious and touching movie about pursuing one's dreams, at all costs (or none), even if they appear to be adolescent pipe dreams to a huge portion of the population. Pete Townshend once said: "Rock 'n roll can't solve your problems, but it can help you dance all over them." With ANVIL! make that "fist-pump and thrash" all over them too.
More later...
Friday, June 5, 2009
My Last Night At The Varsity Theater & THE HANGOVER
As I reported before, The Varsity Theater in Chapel Hill, N.C. is in a period of transition. The owner, Bruce Stone, is still in negotiations and nobody knows whether it'll remain open as it changes hands or if it will close unsold. This is all so timely as I will no longer be working at the theater. Since my move to Raleigh I've decided I no longer want to commute, so yesterday was my last night working my all-time favorite part-time job. We were opening 2 new movies - oddly enough both feature Mike Tyson - so I needed to change the marquee for the last time. Of course, it rained last evening (which seems to be a Thursday night tradition here) so I wasn't feeling particularly sentimental as I climbed the ladder.
All evening I fielded questions about the fate of the theater. Stone joked last weekend that our official line to everybody was: "We're confused." So we've been saying that (or variations thereof). David Fellerath wrote this insightful article in this week's Independent about not just the Varsity and its sister theater the Chelsea's fate but about the bleak business and uncertain future of independent art houses these days:
The Unknown Futures Of Chapel Hill's Varsity And Chelsea Theaters: The Moviegoer's Lament (Independent Weekly June 3rd, 2009)
Another Thursday night tradition is to have a late showing (not open to the public unless you know somebody) of the new movie that is opening the next day. I definitely wasn't going to miss the late show my last night at the Varsity:
THE HANGOVER (Dir. Todd Phillips, 2009)
"A bachelor party movie where you never see the bachelor party" is how director Phillips, responsible for the likes of OLD SCHOOL and STARSKY & HUTCH, described this Las Vegas-set silliness to The New York Times. Bradley Cooper, Zach Galifianakis, and Ed Helms play the overgrown child protagonists who wake to find themselves in way over their heads after a night of stag party debauchery. In their trashed hotel suite they find that the groom (Justin Bartha) is missing, Helms has a tooth missing, a Bengal tiger is in the bathroom, and there's a baby in the closet. They remember nothing of what happened so you might expect more than a little of DUDE, WHERE'S MY CAR? mixed with just a dash of THREE MEN AND A BABY and you wouldn't be far off.
Galifianakis, in the Belushi/Jack Black role, has the funniest lines and frequently steals the movie from his co-stars. The one-liners come fast and furious but sadly there are a lot of stale comic stylizations like, for instance, a Tarentino slow-motion group walk towards the camera with "Who Let The Dogs Out" blaring on the soundtrack. As the events of the night before are revealed there are some tasty turns - Mike Tyson, playing himself, as the tiger's owner and Heather Graham as a hooker that Helms finds he's now married to have their charms but some other plot points and clichéd character bits fall flat.
As likable as the leads are, THE HANGOVER is only fitfully funny but I would still say it's has enough genuine laughs in it to meet my comedy quota. It is a definite improvement over Phillips previous lowbrow fare as it shows he can handle natural feeling rhythms, timing, and tone. While another draft (or 2) on the screenplay probably wouldn't have made this a comedy classic, it feels a tad undercooked so this is a pretty reserved recommendation. However, I suspect it may have a re-watchability factor and that some elements might rub me better sometime down the line. Maybe, like a real hangover, when the annoying pangs wear off I'll be able to remember the best of the original buzz.
Okay! So that was my last night working at the Varsity. I'll miss working on Franklin Street and downtown Chapel Hill in general. I would usually post recent pictures of the marquee on the sidebar on this blog and that's something I'll also miss. But don't worry, this change won't affect this blog much - I love movies and will continue to see as many movies as possible and tell you what I think. I'll also keep you updated on the respective fates of the Varsity and Chelsea Theaters...so please - stay tuned.
More later...
All evening I fielded questions about the fate of the theater. Stone joked last weekend that our official line to everybody was: "We're confused." So we've been saying that (or variations thereof). David Fellerath wrote this insightful article in this week's Independent about not just the Varsity and its sister theater the Chelsea's fate but about the bleak business and uncertain future of independent art houses these days:The Unknown Futures Of Chapel Hill's Varsity And Chelsea Theaters: The Moviegoer's Lament (Independent Weekly June 3rd, 2009)
Another Thursday night tradition is to have a late showing (not open to the public unless you know somebody) of the new movie that is opening the next day. I definitely wasn't going to miss the late show my last night at the Varsity:
THE HANGOVER (Dir. Todd Phillips, 2009)
"A bachelor party movie where you never see the bachelor party" is how director Phillips, responsible for the likes of OLD SCHOOL and STARSKY & HUTCH, described this Las Vegas-set silliness to The New York Times. Bradley Cooper, Zach Galifianakis, and Ed Helms play the overgrown child protagonists who wake to find themselves in way over their heads after a night of stag party debauchery. In their trashed hotel suite they find that the groom (Justin Bartha) is missing, Helms has a tooth missing, a Bengal tiger is in the bathroom, and there's a baby in the closet. They remember nothing of what happened so you might expect more than a little of DUDE, WHERE'S MY CAR? mixed with just a dash of THREE MEN AND A BABY and you wouldn't be far off.
Galifianakis, in the Belushi/Jack Black role, has the funniest lines and frequently steals the movie from his co-stars. The one-liners come fast and furious but sadly there are a lot of stale comic stylizations like, for instance, a Tarentino slow-motion group walk towards the camera with "Who Let The Dogs Out" blaring on the soundtrack. As the events of the night before are revealed there are some tasty turns - Mike Tyson, playing himself, as the tiger's owner and Heather Graham as a hooker that Helms finds he's now married to have their charms but some other plot points and clichéd character bits fall flat. As likable as the leads are, THE HANGOVER is only fitfully funny but I would still say it's has enough genuine laughs in it to meet my comedy quota. It is a definite improvement over Phillips previous lowbrow fare as it shows he can handle natural feeling rhythms, timing, and tone. While another draft (or 2) on the screenplay probably wouldn't have made this a comedy classic, it feels a tad undercooked so this is a pretty reserved recommendation. However, I suspect it may have a re-watchability factor and that some elements might rub me better sometime down the line. Maybe, like a real hangover, when the annoying pangs wear off I'll be able to remember the best of the original buzz.
Okay! So that was my last night working at the Varsity. I'll miss working on Franklin Street and downtown Chapel Hill in general. I would usually post recent pictures of the marquee on the sidebar on this blog and that's something I'll also miss. But don't worry, this change won't affect this blog much - I love movies and will continue to see as many movies as possible and tell you what I think. I'll also keep you updated on the respective fates of the Varsity and Chelsea Theaters...so please - stay tuned.
More later...
Tuesday, June 2, 2009
UP: The Film Babble Blog Review
UP (Dirs. Pete Doctor & Bob Peterson, 2009)
Another summer, another wonderful colorful emotionally-involving awe-inspiring magical masterpiece from Pixar. UP had me from the get go - I was crying within the first 5 minutes. It would be a critical sin to reveal the exact narrative that sets up the premise of an old man named Carl Frederickson who one day decides to tie thousands of helium balloons to his old home in order to fly it to Paradise Falls in South America, so I'll try and keep this relatively Spoiler-free. As voiced by the gruff Ed Asner, Carl is utterly sympathetic and not completely the cranky curmudgeon you might expect, though he is tasked when finding that there's an accidental stowaway on his makeshift aircraft: an 8 year old "wilderness explorer" named Russell (Jordan Nagai) who is full of spunk. Like Asner's classic Lou Grant character, Carl hates spunk but they form an alliance regardless as they brace a dark thunderstorm that is the first of many obstacles on their journey.
"No rap music or flash dancing!" Asner mildly growls as they set out over the terrain making their way through a jungle full of exotic birds and a pack of vicious dogs that amusingly communicate through translating collars. The boyhood hero of our protagonist, famous explorer Charles F. Muntz (voiced by Christopher Plummer) appears, at first welcoming but soon suspecting that his visitors are here to undo his life's work: the securing of an extremely rare tropical bird. Saving the bird, which the plucky Russell previously befriended and named Kevin (not know it was female), from the clutches of Muntz becomes the crux of this delicious cinematic biscuit as we sail through glorious set pieces and gripping chase scenes at an invigorating pace.
UP may lose some of its sense of invention in the second half, yet it's a gem that stands with the best Pixar productions. It maybe didn't wow me as much as last summer's WALL-E but that's a tiny quibble. Pixar continues to do amazing work by consistently making quality family films that hip, intelligent adults can enjoy. The sentiment is sans cynicism and the worlds they create are eye-poppingly and mind bendingly beautiful. It's a joyous feat to have a senior citizen as the lead battling another ornery old-timer while what could have been an obnoxious tag-along kid bounces around them. Surround them with patented Pixar inspiration and the result is pure exhilaration. Keep 'em coming, Pixar - there's no reason to look back or look down when you're this high in the sky.
Post note: There was a great UP sight gag in the season finale of The Simpsons this year. It may be the first time a movie was referenced on the show before it was even released. Actually, come to think of it, probably not.
More later...
Another summer, another wonderful colorful emotionally-involving awe-inspiring magical masterpiece from Pixar. UP had me from the get go - I was crying within the first 5 minutes. It would be a critical sin to reveal the exact narrative that sets up the premise of an old man named Carl Frederickson who one day decides to tie thousands of helium balloons to his old home in order to fly it to Paradise Falls in South America, so I'll try and keep this relatively Spoiler-free. As voiced by the gruff Ed Asner, Carl is utterly sympathetic and not completely the cranky curmudgeon you might expect, though he is tasked when finding that there's an accidental stowaway on his makeshift aircraft: an 8 year old "wilderness explorer" named Russell (Jordan Nagai) who is full of spunk. Like Asner's classic Lou Grant character, Carl hates spunk but they form an alliance regardless as they brace a dark thunderstorm that is the first of many obstacles on their journey. "No rap music or flash dancing!" Asner mildly growls as they set out over the terrain making their way through a jungle full of exotic birds and a pack of vicious dogs that amusingly communicate through translating collars. The boyhood hero of our protagonist, famous explorer Charles F. Muntz (voiced by Christopher Plummer) appears, at first welcoming but soon suspecting that his visitors are here to undo his life's work: the securing of an extremely rare tropical bird. Saving the bird, which the plucky Russell previously befriended and named Kevin (not know it was female), from the clutches of Muntz becomes the crux of this delicious cinematic biscuit as we sail through glorious set pieces and gripping chase scenes at an invigorating pace.
UP may lose some of its sense of invention in the second half, yet it's a gem that stands with the best Pixar productions. It maybe didn't wow me as much as last summer's WALL-E but that's a tiny quibble. Pixar continues to do amazing work by consistently making quality family films that hip, intelligent adults can enjoy. The sentiment is sans cynicism and the worlds they create are eye-poppingly and mind bendingly beautiful. It's a joyous feat to have a senior citizen as the lead battling another ornery old-timer while what could have been an obnoxious tag-along kid bounces around them. Surround them with patented Pixar inspiration and the result is pure exhilaration. Keep 'em coming, Pixar - there's no reason to look back or look down when you're this high in the sky.
Post note: There was a great UP sight gag in the season finale of The Simpsons this year. It may be the first time a movie was referenced on the show before it was even released. Actually, come to think of it, probably not.More later...
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