“‘We’re thrilled to have identified clear signs of water on a planet that is trillions of miles away,’ said study leader Giovanna Tinetti of the Institut d’Astrophysique de Paris in France.” Scientists discover clear signs of existing water well outside the solar system at HD 189733b, a Jupiter-ish gas giant in the Vulpecula constellation, 64 light years away. “The researchers found that the planet absorbed starlight in such a way that could only be explained by the presence of water vapor in its atmosphere.“
Month: July 2007
“Hit them.”
Newly released papers from the 1972 election reveal more of the Nixon re-election campaign’s dirty tricks operation at work. “Nixon aides worked assiduously to plant negative stories, including one alleging [Dem VP candidate Sargent] Shriver‘s ancestors were slave-holders. An operative ‘is trying to get the story fed into certain segments of Black media and will give it to Black surrogates,’ an aide told Chuck Colson, Nixon’s chief counsel.” And, also among the new stuff, a detailed account of eventual White House whistleblower Alexander Butterfield‘s exasperation with Nixon’s dog, King Timahoe. ‘I think the miserable sessions I endured in Latin II as a high school sophomore were easier,’ he groused to Haldeman after meeting Nixon’s valet to discuss ‘doggie affairs.’” (Further excerpts.)
McCain ain’t able?
“‘The campaign is imploding,’ said one McCain staffer, echoing a word used by others.” With his campaign leadership resigning en masse, some serious funding problems looming on the horizon, and a possible mobile phone slip-up that might prove illegal, is John McCain’s 2008 bid already derailed? Slate‘s John Dickerson surveys the wreckage. “Those who remain are trying to argue that McCain is showing leadership by holding his top brass accountable, but the episode looks more like the last scene in Hamlet — a stack of bodies piled up just before the curtain.” Update: McCain circles the wagons.
This Bird Has Flown.
“Ugliness is so grim. A little beauty, something that is lovely, I think, can help create harmony which will lessen tensions.” Lady Bird Johnson, 1912–2007. (Reminiscences.)
Facing the Android’s Conundrum.
(I know, I know, they’re not androids. Sorry, that song‘s been in my head all week.) Well, I kept my expectations low and didn’t really look for anything other than two hours of air conditioning and some big dumb summer fun. But, even by that low standard, Michael Bay’s Transformers is less than meets the eye. Mind you, I didn’t go in with a litany of fanboy complaints on hand…just as car culture somehow bypassed me as a kid, I never much grokked into Transformers back in the day. I did see the cartoon (and the cartoon movie with Orson Welles) a few times, and tried to reassemble the occasional Decepticon over at one friend or another’s place. And, before seeing this 2007 incarnation, I would’ve thought it was a pretty perfect match of director and material: True, Michael Bay movies generally tend to be terrible (although I didn’t mind The Island so much), but he’s definitely in love with the strict machines, and, if nothing else, has a knack for filming sleek, impressive car chases (cf. Island, Bad Boys 2.) But, this…well, this is about as dull and unengaging a movie about gigantic fighting alien-robots as you can imagine. Sure, the special effects team earn their keep with a few brief, shining moments, but the movie as a whole is a badly paced, surprisingly boring affair…It’s an hour and a half of interminable set-up, long, needless digressions, and military-industrial gobbledygook that eventually descends into stuporous, standard-issue Bayhem. If you were going to see this movie, you likely already have. But, if you’ve been on the fence…abort, retry, ignore.
As Transformers begins, the voice of Optimus Prime (Peter Cullen) booms forth the backstory: An ancient cataclysmic war between an alien race of good robots (Autobots) and bad robots (Decepticons) over the whereabouts of an all-powerful MacGuffin (The Cube) has finally spilled over to our planet, Earth. Uh, did I say our planet? I’m sorry, this is in fact Michael Bay’s Earth, where cameras endlessly flit around people like wayward moths, the NSA hires hot Australian coeds to be their top computer experts, and extended scenes involving nothing but pseudomilitary babble is considered compelling. Anyway, while the bad guys play hell with US army units stationed in Qatar, the good guys (for reasons left unexplained) already know to track down one Sam Witwicky (Shia LaBoeuf), a quirky, Cusack-ish eleventh-grader who, when he’s not trying vainly to woo the quarterback’s girlfriend Mikaela (Megan Fox), hawks his Arctic explorer great-grandfather’s personal effects on Ebay. Sam initially encounters these well-meaning alien life forms in the form of his first ride, a bitchin’ Camaro known as Bumblebee (Arguably the movie’s best non-robot-scenes come from the car’s early, Christine-like behavior.) But, soon, he’s met the bad guys too, in the form of a killer cop car known as Starscream. And, before you can say “My, that felt lifted from Terminator 2,” Sam and his new potential ladyfriend (who’s, conveniently, an amateur mechanic) have been irrevocably caught up in the intergalactic-robot melee, a fracas which, it turns out, the MIB-like government suits known as Sector 7 have known about since the days of Herbert Hoover. (Hmm, interesting. Is this dissertation-worthy?)
You may think I’m being too hard on this film — this is a movie based on twenty-year-old toys, after all. (One shudders to wonder if Voltron, My Little Pony, Care Bears, Cabbage Patch Kids and Teddy Ruxpin are all getting the live-action treatment in due course.) But, like I said, I’m willing to sit through a lot of deadly-dull exposition in a July 4th movie such as this to witness big robots beating on each other…but not this much exposition. After its Qatar debut, Transformers takes entirely too long to move out of first gear, and even then, it downshifts for bizarre, barely diverting digressions. (See, for example, Sam trying to hide his giant new friends from his parents.) Conversely, by the time the final battle happens in a city somewhere near the Hoover Dam, it includes so much vehicular carnage packed into fifteen-to-twenty minutes that it barely registers. Throw in the occasional blatant message moments like Sam discussing the car not taken, or the revelation of Mikaela’s checkered (flag?) past, and the movie starts to feel like a straight-up stinker. (I haven’t even mentioned John Turturro, who’s more over the top here than he was in Lebowski, and about one-twentieth as entertaining.)
The only thing that redeems Transformers in the end, is the impressive work of ILM — when two robots tumble, skate, and slide across an interstate highway, a scorpion-shaped Decepticon leaps out of the sand behind terrified troops, or Starscream lunges from car to robot back to car in one sweeping arc, Transformers offers a few tantalizing moments of real visual grandeur. In the end (and no disrespect to La Boeuf, who’s actually a pretty appealing presence throughout), it’s the number-crunching machines at Industrial, Light, and Magic that are the real stars here, however brief and flickering. But I guess that makes a certain amount of sense.
Old Gods and Little Children.
In this week’s trailer bin, 9/11 meets The Blair Witch Project (and maybe even a dash of Cthulhu?) in the cleverly low-fi teaser for J.J.Abrams’ 1-18-08, a.k.a. Cloverfield. Freddie Highmore (of Charlie and the Chocolate Factory) discovers his own Pan’s Labyrinth of sorts in the new trailer for The Spiderwick Chronicles, also with Mary-Louise Parker, Nick Nolte, and David Strathairn. And Ben Affleck directs his brother Casey in a Boston missing child case in this look at Gone Baby Gone, by the author of Mystic River and also starring Michelle Monaghan, Morgan Freeman, Ed Harris, and The Wire‘s Amy Ryan (Beadie) and Michael Williams (Omar).
No, you back down.
“As the letter from the Acting Attorney General explained in considerable detail, the assertion of Executive Privilege here is intended to protect a fundamental interest of the Presidency: the necessity that a President receive candid advice from his advisors and that those advisors be able to communicate freely and openly with the President, with each other, and with others inside and outside the Executive Branch.” Dubya invokes executive privilege again in response to the Leahy/Conyers letter of a week ago, prompting further outrage among congressional Dems and increasing the likelihood of a protracted legal standoff. “Speaking on the floor of the Senate Monday afternoon, Leahy blasted what he called ‘the White House disdain for our system of checks and balances.’ ‘What is the White House trying to hide by refusing to hand over this evidence?’ he said.”
Live Free or Meh Hard.
I find Len Wiseman’s Live Free or Die Hard, a.k.a. Die Hard 4 or “Die Hard in the Chesapeake,” a difficult movie to review (which is perhaps why it’s taken me an extra week to spend any time on it.) As a long-awaited fourth installment in the Increasingly Unlikely Trials of John McClane, I’d say it’s probably better than Die Harder (about which I only really remember Fred Thompson as an ATC exec) and Die Hard 3 (which brings to mind Samuel L. Jackson in Malcolm X glasses doing jug-of-water problems), and it’s a considerably more enjoyable movie than I expected from the director of Underworld. But it also doesn’t make much sense, it traffics in action-movie cliche, most of its boldest setpieces were telegraphed in the previews, and it doesn’t hold a candle to the still-quite-impressive first film, which ranks deservedly high in the Actioner Hall of Fame. In short…well, it is what it is. I was intermittently amused and diverted by about half of Live Free or Die Hard, restless and somewhat bored by the other half. Bruce Willis has always been an easy actor to root for, and it’s definitely fun to see him back in the saddle as America’s favorite Working-Class Hero, but in the end I thought this Die Hard didn’t really pay the nostalgic dividends of, say, Sly Stallone’s recent return as Rocky Balboa. Willis doesn’t embarrass his franchise by any means, but he doesn’t really add much of note here either.
So what’s the doomsday scenario this time? Well, as the movie begins, we watch various teenage computer hackers, geeks, and webheads out of Fanboy Central Casting report in to the comely villainess Mai (Maggie Q) with their various h4xor pet projects, then — thanks to their sabotaged PCs — get rubbed out in an explosive fireball of Playstation parts, computer cables, Red Bull cans, and collectible figurines. Escaping this awful fate — but only barely — is Mac Guy (Justin Long), who was fortunate enough to have had NYPD Det. John McClane in the nearby Rutgers area, troubling potential suitors to his daughter (Mary Elizabeth Winstead), and asked by the usual consortium of concerned government NSA-types to pick the kid up. Soon, McClane and Mac Guy are on a road trip to DC to see these aggrieved Feds when the real cybermachinations begin: all traffic lights go green, all fire alarms go off, all stocks plunge. And, we come to discover, pulling the strings is an even more aggrieved Fed, one Thomas Gabriel (Tim Olyphant), a cyberterrorism expert whose Richard Clarke act got him fired and buried by the blase powers-that-be. Now a private citizen, he’s out to make them, and all America pay, unless McClane can work his analog mojo to stop Gabriel’s digital devastation…
Uh, Mac Guy? McClane’s all-grown-up teenage daughter? And yet, one of the bigger surprises in this otherwise regular-as-clockwork movie is how well it sidesteps what at first look to be really obvious pitfalls. For example, sidekick Justin Long doesn’t come off half as irritating as you might expect, and in fact acquits himself rather well. And while Winstead is given some predictably schlocky “Baby Badass” moments — a la Katherine Heigl in Under Siege 2 — they’re thankfully few and far between. (As for the baddies, Olyphant’s Seth Bullock seethe is put to good use here, but he’s still no Hans Gruber…although I think I’ll take Maggie Q and a parkour henchman or two (a la Casino Royale) over Alexander Godunov.) And, for his part, Bruce Willis is still convincingly tough, crazy, and disgruntled as the man of the hour despite himself….one hopes Harrison Ford holds up as well for his upcoming stint in Indy IV.
Nevertheless, what Live Free or Die Hard is really missing is the narrative economy of the first film, which all took place within the increasingly claustrophobic confines of the Nakatomi Building (thus spurring the “Die Hard on a *blank*” genre in the first place.) Instead, this movie is sprawled out across the mid-Atlantic, with McClane & co. actually driving off to West Virginia and back at one point. Perhaps as a result, the tension in Live Free or Die Hard often goes completely slack, as McClane and Mac Guy have nothing to do but trade clunky exposition or thinly veiled movie-message pablum while driving from place to place. And unlike in the first movie, when, say, McClane is forced to do unsavory things like pull pieces of broken glass out of his torn, bloodied feet, there’s never much sense of any real danger or menace in this film. Perhaps it’s progress, I suppose, but dying hard here doesn’t seem half as troubling as it used to.
Scooter Laughs Last.
“I respect the jury’s verdict. But I have concluded that the prison sentence given to Mr. Libby is excessive…The Constitution gives the president the power of clemency to be used when he deems it to be warranted. It is my judgment that a commutation of the prison term in Mr. Libby’s case is an appropriate exercise of this power.” So, once again, we see what “restoring honor and dignity to the White House” means to these jokers. As y’all know, the main bit of news this past week, the 231st anniversary of our independence from the perversity of monarchical prerogatives, was that Dubya the decider chose to commute White House consigliere Scooter Libby’s sentence of 30 months in prison for lying to the American people. (Said prosecutor Patrick Fitzgerald of the decision: “It is fundamental to the rule of law that all citizens stand before the bar of justice as equals.” For their part, the GOP are crying Marc Rich.) To be honest, I’m not sure what’s worse: the fact that, in flagrant defiance of both our judicial process and the public’s very real ethical concerns about this administration, Dubya actually let his guy off the hook…or that, given all we’ve seen from this gang over the past seven years, his shameless decision ultimately wasn’t all that surprising.
Leahy/Conyers: Not so Fast.
“We had hoped our Committees’ subpoenas would be met with compliance and not a Nixonian stonewalling that reveals the White House’s disdain for our system of checks and balances…The veil of secrecy you have attempted to pull over the White House by withholding documents and witnesses is unprecedented and damaging to the tradition of open government by and for the people that has been a hallmark of the Republic.” In a “barbed” letter to the administration, Judiciary Committee Chairmen Conyers and Leahy demand that Dubya explain his rationale for executive privilege (which he invoked earlier in the week to thwart subpoenas concerning the persecuted prosecutors case.) Thus far, the White House has described the letter as “another overreach.“