In: Updates
18 Jul 2010I’m proud to announce that after an arduous 40 plus hour labor and a C-Section that while not what we wanted, ended up being the only option when Lindz cervix refused to dilate past 9.5 cm, insufficient to accommodate Bacon’s “Sunny Side Up” orientation, and Bacon became wedged in the cervix at Plus 2 below spine (which left him with an awesome and mercifully quickly disappeared cone head), where upon he began to show signs of duress & stress, and his heart rate began to drop.
Electing not to further stress the baby, a C-Section brought Bacon into the world at 4:53 pm on Friday, July 16, 2010 weighing 8 pounds 9 ounces and measuring length 55 cm, head / cranial 35 cm. We’d requested for me to cut the cord once it stopped pulsing, and though not typical to a C-Section, they accommodated somewhat by detaching the cord from the base of the placenta to at least allow that much through, which is something at least, and shortly after when it’d stopped pulsing I cut / cropped the cord to a more sporty look, though left to foreskin well alone because frankly I’m not into circumcision, not being religious and all.
I held the baby for a bit and presented him to his mother, and together we went to recovery and got skin to skin contact as swiftly as humanly possible, even managed with Lydia, our amazing MidWife’s help, to get a latch on one side to begin the process of getting colostrum into the baby. I believe that’s how the stuff that precedes milk is called…
Some pictures from the event have been posted to my Flickr account, nothing too unsettling
Some highlights from our adventure…
Best wishes to all of you, now parents and parents about to be!
All of our respective births will likely be very different, though they will all share some key common factors. Knowledge from the Birthing Class coupled with the additional wise people we chose to surround ourselves with empowered us to ask questions, demand more time, request options, and sustain for over 40 hours of intense, scream aloud contractions before conceding that in our one case, we’d given ‘er hell, chosen the best options for each and every context, and while not how we planned to do things, we’ve been rewarded, and dare I cheese-ball and assert, blessed with a beautiful, healthy, newborn son.
Best wishes from all of us to all of you,
- Lindz, Otis Shae, and me.
Finally got round to watching the second part of Brit television’s recent adaptation / re-imagining of The Day of the Triffids. My impressions on the first part were largely favorable, though a few glaring issues had my garters into a twist.
Second half quickly drags itself out of an unnecessary cliffhanger and gets to business with an on foot road trip through Triffid occupied England, and while the travel narrative doesn’t have the poetry of 28 Days Later or the pulse of Book of Eli, there’s a couple decent beats like silver age hottie Vanessa Redgrave tramping as a wicked queen bee nun, or the kid sister gunslingers hiding out in a countryside B & B tavern much like the one my wife & I had the good fortune of boarding at during our honeymoon travels visiting friends in Whitehorse, England.
Still not sure if Whitehorse counts as a Shire or not, in my mind of course it does.
While I didn’t hate the second half, there were moments that felt lazy, sloppy, or just simply stupid.
Why did Eddie invade the compound?
How did a man that single-handed (pardon the contextual pun) best, wrangle, and hogtie a Triffid manage to get POWN’d by one. Don’t say the recording of the Triffid chatter made it angry, I’m sure it felt far more hostile about being tied up and stuffed into a giant kiln with a grate for a friend like Gregory sans rodents. Unless perhaps Triffids, like so many carnivorous types, are also into some kinky type stuff. Think that might’ve needed some deeper consideration, and frankly, the show?
The show clearly demonstrates many days at the least passing by, and if you take into account the construction of blockades using double-deck buses and what appears to be a lot of spot welding of plates and barbed-wire, as well as the ever expanding and extremely well armed army Eddie Izzard is commanding, and the war map with the chess pieces that shows multiple fronts or ensconced areas color coded to appear under human or Triffid control might indicate months, not just days or weeks, have passed.
Why does this matter? Wouldn’t at all until the protagonist femme flees the power mad Eddie’s castle mansion and heads into the DMZ crawlign with man eating Triffids and has to take refuge in a restaurant. Whether days, weeks, or months, I’m relatively sure for one reason or another the very freshly dead waiter lying on the floor by some car keys the femme will need to help expedite her getaway, I’m sure he wouldn’t be there.
Oh, he might be there as a skeleton picked over by Triffids like another cadaver the woman had passed only moments earlier in the street. Or he could be a dead guy dressed like the people in Eddie’s army that’d perhaps been just recently caught unawares while looting the restaurant for nonperishable goods to take back to the castle to trade for sex, drugs, or rock and roll. What I’m sure of is that time and space did not collapse enough to facilitate a fresh kill of a waiter about to attend Table Three with Service for two unfortunately struck down mid-shift by a Triffid’s barbed kiss without Dr. Who or the Improbability Drive’s direct intervention.
By the time our femme hero sauntered into the wrecked up restaurant, any waiters still on premises would’ve long dead, and even a few days at the least would be a nasty discovery to make, let along a few weeks. They’d not be lying there looking as rosy cheeked as a Shakespearean lover on a poison Jell-o shots bender.
With cars and tanks of gas throughout England, why does our hero doctor consistently travel everywhere on foot like Johnny Appleseed hoping to sew the land afresh? True, he slept in the open on a runway tarmac, cradled in the lip of a massive jet engine. I’m unsure why Triffids wouldn’t traverse an airstrip, though clearly the doctor felt confident they wouldn’t, perhaps his studies revealed to him that Triffids, like B.A. Baracus, don’t fly with coercion, and certainly don’t collect air miles. Personally, have ridden in a car through a fair part of England’s villages and countrysides, I felt the show really did a disservice to automotive practicality versus the potential threat of genetically enhanced yet woefully slow moving carnivorous plants.
Did the lady hero really have to wreck her tiny, sensibly fuel efficient car while looking at a map? True, this wouldn’t have happened to a dude because men never use maps. However, clearly in view of the car she wrecks, and by wreck I mean drive into a ditch with a slight dip in a car that clearly is too small and light to warrant have a reverse gear, are several more cars to choose from, many of them very much looking intact and viable.
I believe her character is forced to walk, aka “leg it”, because the writers or director(s) wanted to set up the unlikely event of her rescue by the hiking doctor’s warrior scientist dad. I feel this could have been achieved more spectacularly had she perhaps been on the run from Triffids that had just thrown her car from the roadway down and embankment and into the bog. Or, she simply could have reached the old man’s distinctive retreat and parked out front, then had to fight her way into the grounds, about to die just short of the door when fences go on and the old grumpy man saves her.
Coincidence is a tough gimmick to swallow, and could have been avoided simply by letting her journey to reach the same known destination her lover is bound for be rife with arduous and exciting occasions, rather than smidgens of improbable, impractical, or nigh impossible twists.
England is a land of cops without guns. Where did two little girls get firearms Tank Girl would drool over? Sure, could happen, the details would have been interesting to know, more interesting than the minutes wasted seeing the hero woman’s inability to navigate her washing machine on wheels along a road three cars wide.
We’ve seen Eddie offhandedly shoot people working for him. When the kid lets the hero woman go free, Eddie appears distrustful of the kid, yet lets the kid live, leading to the kids later, bigger betrayal. Does Eddie secretly have a moral code that exempts the kid from Eddie’s frequent acts of violent discontent? Is the kid his manservant? The relationship between Eddie and staff that love to serve him yet fear his furrowed brow of fury isn’t sufficiently developed, and seems to settle to quickly into fairly stale, predictable, hero versus villain fare that hides all of the many talents Eddie Izzard the actor could bring to the role, and leaves us instead with generic Gary Oldman style villain played by the best comedian we could afford that’s willing to work Sci-Fi for a new flooring of his flat in Manchester.
Not that everything about the show is horrible, however, enough is good that what isn’t stands out all the more as the delivery of unrealized potential. So much promise derailed into mediocrity by adherence to stale conventions and trite, contrived plot devices.
I hope Walking Dead‘s adaptation does better. And when someone wises up and adapts Monster Island they had damn well do better than this. The richness of stories like these is in the characters and how they confront, adapt, experiment, stand up, fall down, win, fail, survive, or die versus a monumental change to their norm, their safety, their situation.
Just as having a baby this week will be a massive test and measure of our characters as people, and a challenge I hope to survive, the Day of the Triffids is not all that noteworthy for the man eating plants, that’s just a treatment on a change of circumstance, a perpetual threat, a backdrop calling characters to action and testing their natures, abilities, and ethics. The book has merit as a story about people and what they do when all the rules change, when the society they knew is blasted away.
The series started out with some potential, especially around Eddie Izzard’s character, from his clever means of surviving the plane crash to his constantly changing bio he’d feed people to his ambitions to become lord and liege of a new country defined by his will and vision. There could have been so much room to explore his pathological desires, reveal his needs, make him flawed and in his own mind trying to do something just and right and good instead of feeling like a shallower version of Alan Rickman’s Sheriff of Nottingham in the Kevin Costner version of Robin Hood, all bluster and tiny tyrant rage instead of a layered character with mysterious ambitions that one might expect from a person such as Eddie Izzard.
And why did the hero need to be the very scientist who’s father created the hybrid Triffids? I have the same issues with the whole Skywalker family doomed for greatness that the rest of the known universe orbits around thing. It’s contrived, and worse, it’s lazy. And while our history is full of it through monarchies and dictatorships and an ingrained sense of nepotism as the easiest route to greatness, I personally take issue with a story that at heart tries to stage a central cast around people who were predestined to play the roles they do for the story.
I appreciate that the show is trying to emphasize the importance of family and community and collaborative efforts against adversity and a common foe. I think that could be accomplished without contriving a father son relationship hinged on having created the Triffids, perhaps the savior of the human race isn’t the son of the man that created the plague that dooms humanity. Please don’t misunderstand me though, I do earnestly think there is great richness in exploring the relationship between father and son, especially when put under duress, internally or externally. What I’m not a fan of is tacking that notion into a larger story like a sort of lazy shorthand for two dimensional archetypes. Had the show focused more on the relationship between father and son at least as much as Indy and his dad in the Last Crusade, I might have bought in, however unfortunately not the case here.
Also, when the little girl starts calling the female hero “Mom” not hours after meeting her, I had to question whether that were a bit heavy handed on the writers’ part, or whether scenes had been cut to better inform the viewer as to how the little girl had become so stripped to the core as to need to fill a mother figure void? I just don’t get to know the little girl well enough, her back story, or how she and her sister survived, sight intact, with hefty machine guns too boot. I’d like to know. I’d like to see a whole episode devoted to the month or more the two girls spent in their village watching the rest of the people die, or flee, or eat one another, get eaten, or form rape gangs the girls had to trick into a bomb shelter and subsequently set ablaze, or whatever else happened that left them alone with guns, food, booze, seemingly limitless ammo, and keys to a sweet vintage ride apparently neither of them had bothered figuring out how to drive.
The program did not do the girls, potentially the most interesting characters in the whole show, justice. They, and the blind surgeon from the church compound, deserve a followup, or a reboot, or something, much like Joss Whedon managed to do so often in Buffy & Angel, present dumb initial episodes and yet subsequently redeem them through salvaging interesting characters and giving those characters a chance to grow, develop, and delight audiences.
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Having recently discovered Bruce McDonald through Pontypool, I’ve begun a quest to see everything the man has made, directed, etc. starting with the film that many Canadians of my generation consider as much a staple of growing up as Slapshot, Fubar, Littlest Hobo, or Beachcombers.
Hard Core Logo is a burly sloppy joe comprised of one part Spinal Tap, one part Hedwig, a couple parts Trailerpark Boys, and with a slight hint of Sex Pistols: Never Mind the Bollocks band woes of Sid & Nancy in the aftertaste. Add to that some great cameos from cats like Joey Ramone, DOA w/ Joey Shithead (if only they’d also gotten some power pop Pointed Sticks in there somewhere!) and you have a mockumentary road trip across the real and cultural landscape of Canada in the 90′s. A film Christopher Guest must certainly approve of, possibly Jim Jarmusch as well.
The ending caught me off guard, yet suited the film perfectly, enough so I’m a little baffled there appears to be a sequel in the works or floating around out there.
Bruce McDonald‘s adaptation of a story written by Tony Burgess delivers tense, character driven dramatic delight. Pontypool is a new favorite I’ll likely use as reference point when discussing creative craftsmanship with anyone that’ll listen. I will not spoil the surprise of the film, just go see it. And understand that I am seriously thrilled to learn that a sequel to Pontypool is now in the works from the same creative team.
I’m all the more thrilled that I’d somehow missed all Cannes hype about this film and entered into it blindly expecting something either documentary or scary, though I wasn’t sure which.I’m not sure how I’d never seen any of Bruce’s film work previously, though I’d unknowingly seen plenty of his TV work directing episodes of shows like Lexx.
And sure, I’d heard of Hard Core Logo before, however, I’d erroneously thought that HCL was a documentary about corporate trademark iconography. I’m often considered an idiot by close friends and family, so no real surprise there. After watching Pontypool, I immediately rectified this erroneous impression of Bruce McDonald’s directorial background and tracked down more of his fare, starting with Hard Core Logo the very same evening.
In: Uncategorized|Updates
13 Jul 2010Dearest Americans, I humble submit this proposal as an out of box solution to several issues I perceive threatening to undermine the very integrity of and contribute to the instability of a great nation. The proposal is simple, replace the high volume of bovine produced milk fed to children throughout their primary and secondary educations with human breast milk.
I don’t propose this to be shocking, or to titillate if you’ll pardon the pun. I propose this instead for a number of reasons and benefits I’ll attempt to describe following.
Process: Carefully monitored facilities would be set up that facilitate harvesting mother’s milk after first establishing the mother’s physical, dietary, and medical fitness to qualify as a contributing source. Mothers still lactating but no longer actively nursing offspring would qualify for applicant screening. Mothers would be paired with a trio of handlers called Milk Maids for milk collection, as familiarity with handlers makes for a more relaxed, comfortable experience, much as with Canadian Midwife practices, and of course Milk Mothers may request female only if so desired. Milk Mothers will stop by once to thrice a cay for collection, and collection will include both fore and back milk to ensure a comprehensive mix. Milk Mothers will be checked by qualified medical personnel, likely embodied by the Milk Maids themselves, before and after each pumping to ensure the safety, suitability, and well being of the Milk Mother. After collection, the milk with go through a process that includes extraction, filtering out antibodies and white blood cells and other beneficial elements, pasteurization of the stripped milk to render it neutral, and a subsequent invigoration through infusion of the extracted beneficial material to ensure all the benefits of human breast milk will be safely passed on to the consuming public down the line. The harvested stock is tested, inspected, and passed on to the greater inventory for subsequent packaging and distribution. No preservatives will be added, so the turn around time must be expedient, as the expiry date will be far more immediate than conventional dairy.
Economic Benefit: As sales increase and usage becomes commonplace, the demand will bring about a massive call for qualified Milk Mothers, affording a wealth of young women a new avenue of safe employment to better subsidize their Mat leaves, and of course requiring strict regulation to ensure an amply suitable pay scale to ensure contributing women can maintain safe, healthy, and secure lifestyles while providing milk for distribution.
Healthier Lifestyles: with the upsurge of mother’s seeking employment as Milk Mothers, coupled with the strict dietary regimens required to participate as a valid source of commercial breast milk that exempt consuming anything processed, preservative rich, overtly fatty, or proffered as so called fast foods; the States would see an increase in healthier, more able bodied women less susceptible to illness, strokes, or cancer. Recreational, illicit, or prescription drug use use of any sort is of course strictly forbidden and screened for.
Cultural enlightenment: The likely early adopters of mass market commercially available human breast milk would be progressive or Green cities along the coastlines, and as the usage becomes more common place, the product will become fashionable, inevitably appearing in major retailers that hold mush of the consumer loyalty throughout the middle and mid-western states.
Green space: through reducing the number of dairy cattle needed to support the dairy industry, more land can be re-purposed for green belts, forestation, or at least agriculture. As more women become part of the industry, more demand for an emphasis on healthier foodstuffs will force changes upon how commercial retailers stock and price perishable goods, produce, and other edibles containing wholesome ingredients instead of preservatives, fillers, dyes, trans fats, or starches.
General Health: The innovative pasteurization process that extracts and re-posits the beneficial biological elements of the breast milk will pass the immunities and such on to the consumers, though non-antibody or immunity aspect infused versions will also be available for those leery of motherly immunities. As with yogurts, the variations of milk densities and styles of delivery will need options for diverse tastes, though as with yogurt products, never sacrificing quality or health benefit or artificial flavorings or colors or sugars such as might be found in many baby formulas currently on market. The reduced fat and same species aspects of breast milk make for leaner, healthier children, as they’ll receive the full gamut of benefits from the milk rather than a select few like calcium available from bovine milk stuffs.
Through this simple industry America could reclaim an accountability that has been abducted by commercial enterprise for far too long. Through healthier living and consumption, American mothers and children might spend less time in hospital and have less risk of contamination from poor, insufficient, or inappropriate ingredients that might lead to catastrophic consequences in later years.
Through creating a new market space mothers with few options could enter an industry that would demand a maturity from them while rewarding them in kind for being so accountable, as well as reducing the number of welfare mothers, drug addict mothers, and junk food mothers.
The Dairy Industry has found growth and monetary gain through creating an illusion of sureness that the cow is our only answer for milk. I suggest that the fluid best suited to help human grow and develop comes not from bovine sources, but from human mothers themselves.
A nation that embraces, celebrates, demand quality from, and rewards amply it’s mothers is a nation that will see generations aspiring to even further greatness.
For more information related to this notion, please visit the following links (kudos to my wife for them):
Infant Feeding Action Coalition
Human Milk Banking Association of North America
And if you’re living in Canada, please sign the Breastfeeding Petition
In: Film
5 Jul 2010Perhaps I should’ve seen Devil Wears Prada before viewing September Issue, although I’ve heard the documentary is something of a belated spin-control response to DWP, and attempt to set the record straight with an all access pass behind the scenes at the managing editorial offices for the long standing and trend setting / validating institution that is Vogue Magazine, more precisely, to perhaps debunk Meryl Streep’s fictionalized portrayal of Chief Editor and Resident Warrior Queen Anna Wintour.
Although, I hadn’t, and perhaps that lack of preparatory bias has allowed me to instead compare and contrast what ended up in the documentary and what ended up on its nearly as full to the inseam accompanying Special Features disc.
The documentary is something of a whirlwind, and frankly, I would have appreciated and enjoyed seeing far more of how meetings and discussions turned out instead of feeling like the benevolent cameraman Bob with his sacred belly and his cohorts were cutting together a succession of highlight reels. That said, the documentary does do a solid job of introducing us to the key players on Anna’s team, and further demonstrating that where Anna might be the brains, cold and calculating, Grace Coddington is the Heart, artistic and impassioned, while others make up the liver, spleen, and even the soul, pardon the pun. And though I would have liked more fly on the wall, and less perception that folks were playing shy or nice in front of the invasive documentarians’ cameras, I do think the film succeeds describing the organism that governs a far larger organism of the magazine that in turn feeds and feeds off of the even larger organic structure of popular culture, tastes, and trying to make some marketable sense of the general popular lack of either.
Like most everything I’ve learned in life about art, illustration, photography, architecture, and even World War 2; I first learned about high fashion by indirect exposure while perusing my Mom’s discarded issues of Vogue because I’d noticed a collision between sheer fabrics and a general late 70′s – early 80′s models’ aversion to bras. While my interests in art, fashion, illustration, design, and everything else have developed, broadened, matured, enriched and informed my personal and professional life, there is no getting around the fact that pretty much everything I know started with the simple quest of a boy hoping to catch a view of a boob.
And that’s a decent analogy to the companion DVD, the Special Features disk that is a pancake stack of clips and outtakes that make the experience richer, deeper, and far more enlightening. The documentary shows you a crafted perspective on who runs the show. The second disc alternately demonstrates more about who the people are, and how their respective processes work. More meat and potatoes, if you will.
Take for instance Andre Leon Talley. In the documentary portion, he’s proffered to an the uninitiated audience that is I as a flamboyant, vain, out of shape Prada poster child. A stereotype standing well over 6 feet tall and weighing in at well over 300 carrots of gold and diamonds. Almost didn’t watch his section on the second disc, and what a mistake I almost made! The second disc, meat and potatoes remember, demonstrates a man with a lot of layers, history, and personae he can turn on an off as needed to survive and excel at his job. The documentary used him as a distraction, perhaps, or to lighten the mood, a boob to look at if you will, and yet there is so much more to the man, and vicariously through seeing his visit to a fashion school, to Paris with the documentary crew, and assisting with setting up high end exotic antiques at a specialty shop you discover that like him or not, he shouldn’t be dismissed as a loud mouthpiece for the nigh immortal elven queen, even if sometimes that is another role he has to play.
The real takeaway for me though is through Grace’s segments. She’s damn amazing, and the way she draws every dress and outfit she sees blows me away. Thinking she must have books floating around for this stuff, found that she does, however, a bit pricey for my video game designer’s salary, can’t even afford back issues of Vogue on those wages. She does have another tome more within my mercantile allowance, a sort of high fashion equivalent to the “Hang In There” kitten poster, really.
And I would be remiss not to mention how impressed, awed even, by Anna and Grace as both of them have massive routines, deal with metric tons of stuff and no-nonsense, and are both past the age most folks retire. Grace, born 1941, seems to handle her age with a vibrancy that speaks to an inner fire as brilliant as her out of control signature red mane. Anna, born 1949, is according to reports typically up at 6 am for tennis and to bed by 10 pm daily, never stays for more than the first 20 minutes of any party, and eats protein exclusively for lunches. By protein I did not mean kittens or babies, though I’ve found a few blogs that might have you believe so, she’s got quite a reputation turns out.
As a child I simply adored the planet of the apes films, even the mercifully short lived TV series, and sometimes thought the chimpanzee doctor lady had it going on, yet found the inflexibility of her upper lip somewhat disconcerting. There were moments when Anna spoke to people, especially when she had her corrective sunglasses on, that her quest to remain forever young combined with her stiff upper lip reminded me of the chimpanzee lady’s facial makeup. Maybe that’s just me.
Any rate, though a bit light on expose, the documentary, especially factoring in the second disc, is quite illuminating, and I’m looking forward to Devil Wears Prada’s potentially biased or skewed (or generous depending on who’s blog you read) portrayal of Anna Wintour, one of the most powerful women in fashion today.
In: Film
4 Jul 2010Micmacs, a new film from the wonder team of Jean-Pierre Jeunet and Guillaume Laurant (though where was Marc Caro?), is visually delicious, delightfully quirky, and deceptively loaded. OK, that constitutes sort of a pun, sorry.
Some critics noted that it’s lighter on substance than previous works from these creative types, and that’s true, however I wouldn’t consider the film less worthwhile for glossing over a lot of potentially rich minutia when zeroing in so frequently and comedic on much seemingly extraneous microscopic cosmetic detail. I think most comedies delve into the realm of character development through presenting obstacles and predicaments mundane, absurd, or super-sized convoluted just to see how the characters react, leverage, adapt, or fail too. Maybe that describes all drama, the risk of broad sweeping generalizations. This one ticks along smoothly with the protagonist’s gang / family always seemingly balancing between having everything under control while at the same time perpetually on the verge of spinning out of control, much like films I adored growing up like the The Sting or many Jerry Lewis / Dean Martin capers. Remember when Jerry raced a snail? Though fret not, Micmacs has no wince-inducing, “Hey Lady!” moments, just good clean fun with nary a pause to get too deeply intellectually invested and loads of clever beats that illicit a hearty laugh or a healthy tug at the ol’ heart strings.
What I would and could wish for is more and deeper penetration into the psyches of the supporting cavalcade of characters. They really only get enough quirks and novelty to help them read well as functional supporting teammates, yet at the end of the film I felt a lot of the protagonist’s new family remain unresolved. True, that’s life, yet I expect more from the creators of this than I do from say an Adam Sandler movie. For sure, this looked better and had loads of wonderful gags and turns, and without a doubt the evil villains were undeniably evil and made to pay quite deliciously, much like the end of Earnest Goes to Camp or Real Genius, really.
And here’s a trivia question I don’t have an answer for: How many comedic or films otherwise have resolved through exposing a bad guy / entity through playing a recorded snippet of sound, video, or smell for the public at large while the villain(s) & sharks get caught (out) flat footed / finned? I know there’s a bunch, yet I’m drawing a blank thins second.
Any rate, love the film though I would like to see the creators of it, and their esteemed friends, bring forth some more deep, layered, and potentially subversive cinema on par with the films they’ve created or touched, and not just the screenwriting and directing, I mean the aft direction, the cinematography, the wealth of actors that reappear in so many of the films. Maybe you’ve seen Delicatessen or Amelie. Have you seen any of the other films they’ve been a part of, big or small? Art direction on AccionMutante , blew the load on City of the Lost Children, advised on Ugliest Woman in the World… go read up on these cats and the cats they work with on IMDB and Wiki, trust me, a veritable plethora of fine cinema awaits your drying eyes.
Hot Tub Time Machine,of course the unrated version, did not disappoint, and further, it entertained. However, I have to pause and wonder who, besides me, the target market for this film might have been, and whether that helped or ultimately hurts the potential this film had to have been Bill & Ted’s Excellent Adventure most excellent instead of Blues Brothers 2000 should’ve been a contender.
Let me clarify my perspective, I grew up with John Cusack leading the way. He’s a touch older than me and via cable access to R-rated cinema he’s always been something of a handy role model, more than Kevin Bacon or Christian Slater even. He, or I should say the characters he portrayed, unwittingly set a bar I never really managed to leap over, though those Savage Steve, Rob Reiner sorts of films did manage to inform a sort of moral compass I generally tried to adhere to.
John Cusack had my attention from the skillful way he hid a toke without gagging in Class, inspired me to get limber with his athletic skills becoming useful versus a Godzilla costume in One Crazy Summer, and most of all seemed to get my left-handed perspectives his artistic aspirations in many movies, looking at you, Better Off Dead. We won’t get into my two decade plush man-crush on his sister Joan right now, thank you.
I don’t remember whether I first saw any of his work on Steve’s cable, or Sean’s, my parents hadn’t gotten a color TV yet so probably was Steve’s. Doesn’t matter much except to point out that what made life meaningful during those trepidations teenage years came from friends, peers, social groups, cliques even. Kids trying to define themselves, maybe they had clear directives from their folks or institutions, or maybe they were simply given room to explore and self-manifest against a solid set of unwavering yet flexibly firm ground rules. I may have spent more time making surrogate families out of friends and clubs and teams and theater groups than I did building solid tiers of infrastructure within my own genetically bound brethren, perhaps because I had them already as solid foundation, perhaps because I took them for granted, perhaps because I’d been a witness to a nasty divorce and decided not to get that close to people obliged to love me so readily again, maybe just because I was doing what all kids must do at some point, ween from the parents and define the cut of their own jib.
All of the above and more I suspect. Realizing now for not the first time that I owe large debts of gratitude to my peeps from those days, people that could tolerate my myriad brands of bullshit, people I could’ve dropped more concern for, reciprocated some compassion once in a while, afforded some emotional and social support instead of getting so mired with wanting to be liked, be popular, envied maybe, asked out once in a while would be nice. Strangely and at often at odds with my more vanity driven aspirations, I also spent a lot of time preoccupied with not ever wanting to be hated, to be disliked, to the point to cowering like a kicked puppy trying to suck up and compromise repeatedly to win some faux love from the strong types that might’ve felt offended, or threatened, or impatient, or perhaps, worst of all took no notice at all whatsoever.
Much of my love to give to the cats that indulged me, informed me, rallied me, reality checked me. All my love as well for the cats I didn’t do as much as I could’ve, the ones I took for granted, or used, or kept distance from for fear of negative associations from A crowd I so wanted to be a part of, envied until I could cry, the same cats I largely could give nary a chocolate malt ball about now, all that sell-out stupid compromise for what, so dodge some proverbial Glee slushies? To minimize my silhouette as a viable target with the jock types? Or just because I was so up my own ass with self-doubt, self-loathing, and what all amounts really to an inability to gauge self-worth or to set and pursue and commit too viable goals with confidence, humility, and an earnest will to learn as much from failure as success? Irrelevant now at best, rhetorical at worst.
What does any of this have to do with Hot Tube Time Machine? Effectively everything, as I feel the film could’ve gone further, done more than homage Cusack’s early days with references to 2 dollars and costume cameos, have really dug into the premise that if you could take what you know now and take the helm of who you were back then, you might be able to right wrongs, avoid wrecks, and make good things infinitely better. Its the premise that makes films like Back to the Future, another staple of my formative years, so fetching. Or how about that flick about the dirt biker that somehow ends up being his own grand dad, or something. Maybe that one was just playing in the South. I digress.
Hot Tub Time Machine seems conflicted to me because I grew up with the protagonist, or at least, the actor the character seems specifically written for, and like the protagonist, I’m confronting an adulthood I think could have been different, albeit for radically different reasons. I’m not saying I’m unhappy with where the mid-life milestone passes by outside the Flintstone RV window, however do I think I could’ve wasted far less time, maintained relationships better and more fairly, and maybe have done a few dozen hundred other things differently to make lives better, starting with everyone I care about and ending with my sad sack.
The film is light, glib, occasionally schoolyard gross, and I think that’s playing to the cheap seats, and by cheap seats, I mean kids too young to fully appreciate the magnitude of what this event would actually mean to a trio of middle-aged men, to travel back to what might be subjectively described as your prime years to effectively play your life like a replay with cheat codes written on the inside of your forearm.
I dig the flim, just wish it’d been deeper, more thoughtful, and more inquisitive. Perhaps that sort of breadth and depth might have been possible if the target audience had been more specific, 30-40 somethings welcome and teen to 20 somethings can bugger off, go watch Olsen twins or discover beer and make new TFLNs or something.
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PS Mighty huge thanks to Lara Shannon for a couple of those 80′s snaps, hopefully you’ll not mind my reuse of them for a goofy film review!
In: Film
2 Jul 2010Bridled with a beautiful score and a tone similarly playful to The American Astronaut, this eye popping film-stock disloyal romp blows performance anxiety and the fans that empower same into absurdest proportions with delightful art school justifying results.
While perhaps not as revolutionary as Green Porno, as MILF laden as Death Becomes Her, anyone that might feel empathy towards films that transcend yet remain loyal to the trappings of film school grad projects with apparently blackmailed A grade B list talent and / or has a healthy regard for full sized real womanly scaled glass legs filled with sudsy lager should check out this film for at least an offhanded inspiration to Google up some jpgs of Isabella back in her days working for the news, or with David Lynch, or just being awesome in general as an alternative weekend break from the usual lightness of being into unhealthy Juliette Binoche obsessions.
Nothing to do with anything, but She’s Having a Baby is riding the rails on the next channel I surf too after Saddest Music in the World slithers into credits. Couple scenes before the part I remember most, Kevin Bacon’s character getting called out for not knowing what he wants, whether the wife and child and domestic compliance, or wild coke fueled rides on monthly models of the mean. Haunted… When the Minutes Drag. I should feel chills, I remember in 1988 reacting to that scene while having no desire to follow Kevin’s lead, to apply his situations or choices to my own life. And now here I am, balanced on my own glass legs wherein beer swills like golden promise and foamy fun, trying to dance and beginning to feel my heels crack against the hard, gritty surface of the reality that in a day or three I will be a father, I will be holding a newborn to my chest trying to bond as a father and as a care giver and as a worthwhile person instead of the indecisive, self-obsessed, neurotic and narcissistic putz I’ve perfected playing at most of these past 40 years.
And suddenly I fiercely miss John Hughes. Of all the cats in the world I respect or admire, few spring to mind this very instant as the person I might most like a big old sloppy hug from, and maybe a few words of reality check. I’m sad he’s gone, his work gave image and voice to far more of my high school years than I should probably publicly admit. Sure, there was loads of content I didn’t get until years later, doesn’t change the fact that I took it all in, and when it mattered, heeded the cautionary elements quite well, thank you.
And speaking of feeling lost and in need of direction, the next film to traipse across the screen is Anna Paquin and Jeff Daniels in Fly Away Home. No wonder I got so emo while talking to my Mom on the phone, clarifying questions about my birth, my brother’s; trying to contextualize my held dear slivers of memory, where and when, a high stakes game where bits I’ve potentially made up to fill in the gaps and subsequently held true for decades can be debunked within seconds by a witness that’d been on the scene.
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In: Updates
1 Jul 2010Back when I occupied a spot on the Tates Creek Senior High School‘s rather illustrious competitive Speech Team, I did a couple stints of dramatic monologue. Trying to differentiate myself from the usual fare, I had the audacity / vanity to adapt my own pieces from the goofy sorts of books I read then. The first script I built came from the scene in Myth Adventures when the kid conjures the demon and botches the spell, hilarity ensues. Still surprised no one has made a TV series out of the Myth books, lot of great Teen rated stuff in there.
Any rate, after several sessions trotting that beast through the paces before several dispassionate judges, I decided a new piece was needed to get more than a few polite chuckles, and turned to John Wyndham’s novel The Day of the Triffids and adapted the scene when the protagonist wakes, hears all the panic, takes off the bandages from his eyes and discovers a real world demonstration of the proverb about the one eyed cat being king in the land of the blind. I managed to place in state finals and in the Gatlinburg, Tennessee hosted Southern Regional competition with that piece, though I never won more than the satisfaction of getting to final rounds. I as much blame the inability for judges to take man-eating plants seriously versus the tried and true Neil Simon staples as I do my inability to convince them to feel the passion of the plants, the peril of the protagonist, the panic of the peoples.
Received the only back-rub-with-bare-breasts of my entire lifetime from a concerned female teammate during that Gatlinburg competition, and perhaps that’s what gave me the confidence to best depict a man waking to a world utterly different to the one he’d briefly had to close his eyes to, to confront an alien situation that held as much morbid fascination as fearful hesitation, and to take my shtick all the way to finals. Other words, I learned the merit of a cold shower on that away trip.
Funny how writing these reviews really incites some interesting and largely extraneous recollections. But I digress.
For a better sense of the tone of my era of high school years, watch Better Off Dead, Weird Science, Heathers, Back to the Future 2, or Hot Tub Time Machine. You can get some sense of the pop culture late 80′s vibe, though in my circles with way, way less illegal substances and way, way more illegal fashions and day glow colors.
This quick flashback is simply to explain my gut reaction of giddy, giggly glee to discovering this new adaptation had hit the small screen, especially after learning Eddie Izzard is in it. If only it had Tim Curry, too…
I’ve just finished the first half of the two-parter and suffice to say I’d like to see the rest. Sure, this might be my completionist streak, the same one that prohibited me from turning off Murder World or as I call it “Murder World: The Worst Film Ever Made & So Bad as Not to Come Round Again to Schlocky Goodness, the Absolutely Irrehensibly Worst Bucket of Sick Except Maybe for Feast 3“. Could be I’m a glutton for heavy handed drama and fairly threadbare plot devices. Perhaps I just have a real soft spot for the combination of end of days scenarios and snaking grabbing carnivorous vines like chocolate eloping with peanut butter chunky style.
Most likely I’m just enjoying the twists Eddie Izzard’s character is introducing, color me curious about his Napoleon meets Heath Ledger does Joker sort of compulsive liar passive=aggressive power plays as well as a Best Fan Forever because its Eddie freakin’ Izzard and no one can fill a bathroom with self-inflating life vests like he can.
Overall, or at least, so far the adaptation could be less heavy handed, the protagonist more empathetic, the military forces less offhandedly dismissed, and the plot twist at the end of part one far less contrived.
Spoiler Alert… Let me afford an alternative ending to episode one for your consideration. The villain apparent of the piece would seem far craftier if he lead the heroes to harm’s way with them thinking they’d had free will and choices in their actions instead of forcing them there through thuggish manipulation or even more needlessly at gunpoint.
To further the point, I’ll refer to the plot. The villains have had first hand experience with how dangerous the Triffids are, and have decided a couple men need to disappear. While feeding them to the Triffids might seem like a good idea if you could drop them outside a wall or into a pit, driving the men as hostages out into the middle of the woods at night into the midst of a Triffid infestation they knew awaited them everywhere outside the city makes no sense. If you want someone gone in a city where most people are blind or dead, wouldn’t there be an ample number of places the persons might be dispatched without putting yourself needlessly at risk? Elevator shaft would do the trick, not like there’d be a queue for it.
I’m not saying I wanted the heroes killed, I’m suggesting that instead of taking the men hostage and driving them out into the woods to have a needless and frankly underwhelming showdown just to set up a cliffhanger for episode 2, the plot instead could have twisted with one news anchor, guilt ridden over not saving the woman she’d been involuntarily hand-cuffed to, staying behind while the other two men, of their own volition, taking a truck and trying to brave the wilds to reach the protagonist’s father’s place, only to be thwarted by shoddy road conditions and overwhelmed by corpse craving carnivorous cambium containers.
Also, continuity person keeping the editing staff in check, did you not notice all the close ups of our hero shooting plants point blank with a shot gun, or that there next to him is the bad guy sprawled and writhing on the ground, the one that earlier shot our hero in the shoulder and took him hostage? A ruthless anti-hero sort of protagonist might pause to offhandedly put some buckshot into the bad guy, both as payback and as insurance, perhaps with a snappy macho line like, “Now lets see if the plants can get you before the worms do.” Or, “Here, let me help you stay down.” Our hero this day isn’t so petty, however I’m still unable to buy that he’s suddenly without shotgun when the bad guy stands up, waves a pistol around, and demands the keys to the truck. Maybe if you’d showed me a shot of the hero running out of shells or having the weapon wrested from his clammy grasp by a thick Triffid tentacle. Maybe. This turn of events when the baddie again gets the upper hand while a forest of Triffids closes in, including the drippy ones that can apparently climb trees, caused me to say out loud incredulously, “Aw, come on, he’s not dead yet?” Startling my very pregnant wife and causing our 100 pound dog to sleepily get up and move to a different room.
That said, the big dying urban landscape scenes, the man-eating plants, the buffed up narrative elements about how the Triffids cured global warming through weening the masses off of the oil tit (however no one can know the terrible secret that the Triffids live off of blood and bone and like Japanese businessmen in love hotels they always aim for the eyes). And didn’t the Triffids come from space in the novel?
Doesn’t matter, aliens or bio-engineered, the Triffids are purple blossomed bad asses, and while I often felt Torchwood might show up at any moment, the show is worth a watch through, especially if you’ve some quilting or knitting to do, or gardening if you like a bit of irony with your boob tube.
artist. ranter. designer. skin job.
Fairy Glitter