Posts Tagged ‘Tom Hanks’

Political Culture: I’ve Been Ayn Randed!

A homework pass to the first commenter who can identify what inspired this column’s headline – without resorting to the Google (honor system!) – and can tell us why The Man is so unhip.

Class, today’s discussion concerns the first five chapters of Ayn Rand’s symphony of self-centeredness, Atlas Shrugged. I’m not the world’s fastest reader, so I’m sorry to disappoint anyone who’s managed to read ahead of me over the four days since I commenced this adventure in politically contrarian scholarship. But I gotta tell you … and here’s an obscure cultural reference … as I’ve worked my way through 125 pages of Rand’s polemic disguised as a novel, I’ve felt like I had mistakenly picked up the first couple of theme-notebook volumes of Henry Fool’s “Confessions.” (If you don’t get the reference, put the bizarre Hal Hartley film in your Netflix queue.) I’m already wondering if this thing is ever going to end.

That said, I must admit that Atlas Shrugged is far more gripping than I expected it to be – even if, half the time, it’s gripping in the way that a gruesome five-car collision commands the attention of passers-by on the freeway. I’m a sucker for stories full of workplace intrigue and political manipulations, so I’m having a surprisingly easy time tolerating Rand’s endless exposition and the most unfathomable attempts at dialogue I’ve ever read. As for the Objectivism … I suppose if I’m to read one work of delusional right-wing fiction this holiday season, I’m glad it’s this rather than, say, Going Rogue. (more…)

No Concessions: Men Behaving Badly (And One, Very Well)

How funny is The Hangover? Funny enough to get the two guys in the next row off their Crackberries for minutes at a time. I used to go to the movies in the early afternoon, when no one was there. Now, I go to the last show of the evening, which is often the same, except that the few who are at last call are sleepier. So it was gratifying to sit with a full, and mostly attentive, post-10pm audience for a change.

I watched The Hangover with ’80s flashbacks in mind. Its crassness isn’t a lot different than, say, that of 1984’s Bachelor Party, a credit in the “other work” section of Tom Hanks’ resume these days. The Hangover is Bachelor Party cross-bred with Martin Scorsese’s After Hours (1985), with the Vegas section of the underrated Go (1999) thrown in. It’s a hybrid that runs on its own steam, and despite the lateness of the hour I would’ve texted “LOL!” to all my buddies if I had a device handy (no, I wouldn’t have). The only annoying thing about it is that I may have to check out the two other hit comedies written by Jon Lucas and Scott Moore, Four Christmases and Ghosts of Girlfriends Past, to see how they got here. Someday.

They specialize in stories centered on visiting and revisiting, and their idea this time was clever: Take all the standard wild-night-in-Vegas business and turn it into a comic mystery. Laid out end-to-end, the movie wouldn’t be as amusing as it is. Removing 12 hours from the story, then retracing them, was inspired. Director Todd Phillips, who made the semi-classic Old School (2003), paired the concept with actors who come to mesh as a team. Bachelor Justin Bartha, who sits out most of the movie, gets the film in gear with his disappearance but doesn’t really count. The heavy lifting is done, and done well, by a slyly misogynistic Bradley Cooper (who I figured for a big push when he co-starred with Julia Roberts and the rising Paul Rudd in the headline-grabbing Broadway revival of Three Days of Rain a couple of seasons back), Ed Helms (purposefully aggravating on The Office, more appealing here as a strait-jacketed single) and the out-to-lunch Zach Galifianakis, referred to in the movie as “Fat Jesus,” and a natural for Hagar the Horrible if he ever makes it to the big screen. (more…)

Political Culture: Hell Week for Catholics

When the long-awaited, religiously incendiary sequel to The Da Vinci Code arrives in theaters and the anticipated uproar is reduced to a low roar, you know it’s gotta be a rough week for the Catholic Church.

The church’s most dedicated followers of dogma have bigger post-Lenten fish to fry at the moment than the debut of a film – even if that film is Angels & Demons, an anticipated blockbuster that features a poisoned pope, kidnapped cardinals, a threat to annihilate the Vatican, and a secret Catholic sect as the presumed bad guys. No, the threat posed to the church by another Dan Brown-Tom Hanks-Richie Cunningham collaboration is nothing next to the menace of abortion-rights infidel Barack Obama receiving an honorary doctorate from Catholicism’s most prominent academic outpost this weekend.

Venerable South Bend, Indiana, had taken on a carnival-like atmosphere nearly a week before Obama addresses Notre Dame graduates on Sunday. It’s entirely likely that the number of antiabortion protesters on hand this weekend will dwarf the 2,600 graduates in attendance – and the demonstrators already include such revered figures as never-elected-to-anything Alan Keyes and Operation Rescue founder Randall Terry.

Randall Terry!!! Who exhumed that guy? Anyway, if Terry’s in the house you know the show is going to be classy – and true to form, throughout the week somebody’s been paying for a plane to be flown over South Bend, trailing a banner that depicts an aborted fetus. After all, why stop at holding up yucky posters at a rally that people can avoid, when you can put fetal remains up in the sky where everyone can see them? (more…)

Summer Movie Preview: Ten Films I May or May Not Be Looking Forward To

Normally Bob Cashill does a top-ten list of films he’s looking forward to each summer and fall. As he’s “out of town” this week (which, in the writing industry, is code for “on a bender and can’t be found”), I’ve been asked to step up to the plate and cover for him while he’s “away.”

I’ve chosen ten summer films — well, nine as far as Hollywood’s definition of summer goes (the beginning of May all the way to Labor Day weekend), so forgive me for cheating with my first choice.  I will now give my reasons as to why I’m either looking forward to these films or hope they die miserable, lonely deaths at the box office. Please be aware that while the majority of release dates have been locked down, film studios are sometimes fickle, and some later dates may be subject to change.

1. The Soloist (April 24), starring Jamie Foxx and Robert Downey Jr., directed by Joe Wright.

I’ve been looking forward to this film, based on the true story of celloist-violinist Nathaniel Ayers, an extremely talented musician who suffers from schizophrenia, for quite some time in spite of the semi-mediocrity of its trailer. While I’m certain the film will deliver the expected highs and lows of the friendship between Foxx’s Ayers and Downey Jr. as the reporter who befriends him, all replete with the expected script beats (pg. 50: “Have characters realize they’re more alike than different in spite of their dissimilar backgrounds”), the real reason to see this movie is for the act-off between two great thesps, and to begin the debate about which one will deserve to walk home with a statue come next year’s Oscars.

2. X-Men Origins: Wolverine (May 1), starring Hugh Jackman and Liev Schreiber, directed by Gavin Hood.

Yes, this film’s already hit the Internet, so most of you have probably already seen it. I’m waiting till it actually hits theaters, though, because I’d prefer to see the completed effects, thank you very much. Although I don’t understand the fascination with Schreiber (overrated in my book), the real reason for me to see Wolverine is that it’ll be cool to see Jackman as the title character once again. Fanboys and fangirls who vowed to boycott this Fox film due to the studio’s lawsuit brought against Warner Bros. for partial rights to Watchmen profits will more than likely shut the hell up and see it regardless; it could very well be one of the biggest actioners at the box office this year despite its illegal release on the Web. I’m borderline on the story and characters, but I’m looking forward to Jackman’s Wolvie taking a long list of names while he kicks ass.

(more…)

Cutouts Gone Wild!: Various Artists, “Dragnet Original Soundtrack”

cgwlogo.jpg

Various Artists – Dragnet Original Soundtrack (1987)
purchase this album (Amazon)

You know, writing about cutouts in the digital age is more difficult than it looks. Not a week goes by that some knucklehead doesn’t decide to start up a reissue label, hoping to license crappy old records on the cheap and siphon mythical big bucks out of niche markets. (For instance, as we discovered last week, both the Village People’s Rendezvous and The Ethel Merman Disco Album are in print.) To find an album that’s both out of print and worth writing about is easier said than done. (For instance, I’ve had a copy of the last Quarterflash album in the Cutouts Gone Wild! on-deck circle for close to a year.)

But this? This, friends, is the magic fucking bullet. Today we gather to discuss an album that will never be in print so long as Tom Hanks, or any of his heirs, walk the earth.

Ladies and gentlemen, I give you the Dragnet soundtrack. (more…)