Author: KcM

Good for the Jews.


He may seem cruel and indifferent. He may even be vain and jealous (Exodus 20:5.) Still, thank HaShem for the Coens! Like manna from Heaven, the brothers are the cinematic gift that keeps on giving. At this late date, you probably know if you vibe to the Coen’s mordantly kooky aesthetic or not. And if you do, A Serious Man, their sardonic reimagining of the Book of Job set in late-sixties Jewish suburbia, is another great movie in a career full of them.

Assuredly better than the fun but uneven Burn After Reading, this is basically the film The Man Who Wasn’t There aspired to be, and I’d say it sits comfortably next to the likes of Fargo, No Country for Old Men, Raising Arizona, and Barton Fink. (That being said, I still reserve a place of honor for Miller’s Crossing and The Big Lebowski.) A word of warning, tho’ — Despite the funny on hand here, and there is quite a bit of funny, in a way this world may be the Coens’ darkest yet. True, God may have forsaken the bleak Texas landscape of No Country back in 2007, but at least He wasn’t laughing at us then.

Why so serious? Well, it’s 5727, and Professor Larry Gopnik (Michael Stuhlbarg) is having a very bad time of it. After a brief fable involving the visitation of a possible dybbuk a century or so earlier, and a few moments of Larry’s son Danny (Aaron Wolff) communing with the Rabbi Slick, we get to see poor Larry navigate a frozen run of luck like you read about. He has quite literally become his brother’s keeper — Arthur (Richard Kind) lives in the bathroom, draining his sebaceous cyst at all hours of the day. Larry’s wife (Sari Lennick) wants a get (a what?) so she can remarry a family friend, the exasperating and sonorous Sy Ableman (Fred Melamed.) One of his physics students (David Kang) is trying to bribe him for a better grade (and, to his credit, both he and his father do seem to understand Schrodinger’s cat pretty well.) His tenure committee chair is acting squirrelly, and receiving hate-filled letters about Gopnik from an unknown source. His son has bully problems, his daughter wants a nose job, his very goy neighbor is encroaching on the property line…

When the truth is found to be lies, and all the joy within you dies, where do you turn? Well, Larry is physicist enough to realize that one of these many accumulating straws is eventually going to break his back. And so, in the manner of generations before him, he decides to look for rabbinical wisdom into his plight. Alas, easier said than done. The first rabbi he visits (Simon Helberg) can offer only the altered perspective afforded by the synagogue parking lot and the threat of an angry HaShem. The second (George Wyner), only a bewildering mashal about “The Goy’s Teeth.” And the third — well, he’s as inscrutable and as hard-to-reach as HaShem Himself…although perhaps a bar mitzvah kid might have an in.

There’s a lot going on in A Serious Man — much of which, being of the goy persuasion, undoubtedly flew over my head — and this definitely seems like a movie that will reward repeat viewings and/or a Jewish upbringing. (Knowledge of the Old Testament will help too — I knew enough to recognize Jacob’s Ladder to the roof, but was the all-hearing, F-Troop-bestowing antenna up there the angel Larry must wrestle or a potential Burning Bush? Seems like Larry kinda saw another angel up there.) But, in making heads or tails of it all, I did fall back on a few touchstones. (They could be the wrong touchstones of course, so your mileage may vary.)

One was also the basic conceit of Darren Aronofsky’s Pi, that the Torah is basically a number set, so conversations here about high-level physics (Schrodinger, Heisenberg) are one-of-a-piece with the existential or Talmudic questions presented. (The Coens give us a hint in this direction with the “Mentaculus,” a complex numerology system that Larry’s brother Arthur uses to cheat at cards.) So, when Larry lectures his student about knowing math rather than understanding math, for example, I think there’s a good bit more in play for later on.

The other work that came to mind, and this was a more impressionistic connection, was Phillip Roth’s American Pastoral, another Jewish-American tale of things-falling-apart, and America reaping the whirlwind of the late sixties. It’s hard to say, and fun to think about, what exactly is going on here in the closing moments. (Is this punishment for straying from the path, or just another outbreak of Chigurh-like randomness? I think the former, but I could be wrong.) But perhaps the Airplane, who (almost) start and (almost) end the film, is on the right track here, particularly given that they’re basically paraphrasing the wisdom of Shammai: “That which is hateful to you, do not unto another: This is the whole Torah. The rest is commentary.“

Where the Plastic Things Are.

After a decade in the toy chest, Woody, Buzz, and the gang finally get out of mothballs in the trailer for Pixar and Lee Unkrich’s Toy Story 3. It’s been 15 years since the first and ten since the second, so unclear to me why Pixar would endanger its winning streak by going back to this well now. Still, they haven’t let us down yet.

Saving Warlock Ryan (before he wipes the raid.)

“‘The aim is to adapt the game, rather than a previously conceived story written within that world. “We want to be really faithful to the game,’ Raimi said. ‘We would have our writer, Robert Rodat, really craft an original story within that world that feels like a ‘World of WarCraft’ adventure. Only obviously it’s very different ’cause it’s expanded and translated into the world of a motion picture.‘”

Sam Raimi discusses his upcoming World of Warcraft film with MTV, and discloses he’s hired Saving Pvt. Ryan screenwriter Robert Rodat to pen the film. Well, if it’s going to be a wipe, it’ll be an A-list wipe. (Speaking of WoW, I myself quit the game pretty much cold turkey upon moving back to DC this summer, but I could see myself getting snared back in by the next expansion pack, Cataclysm, whenever it drops next year.)

Dog Woof, Cats Meow, Wags Tweet.

Hey all. As we approach the decade mark next month, the readership around here at GitM continues to dwindle, which is primarily my fault for not updating as much as I’d like. Nonetheless, if and when it gets quiet ’round here, I encourage you to also check out my Twitter feed, which is easier to update in the midst of more frantic weeks like last one. (Memo to myself: Columbus Day, and three-day-weekends in general, will mean a lot of speechifyin’ in Congress’ home districts.)

Yeah, I was skeptical about Twitter earlier in the year, but I’m definitely coming around. Within an hour of news of President Obama’s Nobel prize win, for example, (which I’m neither here nor there about — it seems goofy, yeah, but I was already down on Nobel anyway), there were dozens of wry and amusing quips going around the twitterverse. My favorite two were variations on “Obama, I’mma let you finish but Bono has been working his ass off for this!” and “Uh…did the Nobel committee just miss the fact that Obama bombed the f**king moon?!”

Another good example: the Baucus committee tanking the public option in late September brought on a similar flurry of bon mots: “Senators should be required to make the little cash register ‘ka-ching!” noise when they vote.” “Well the insurance Industry is looking forward to its Baucanalian Orgy.” “75% of Americans support #publicoption, but only 35% of the Senate Finance Cmittee support it.” “Health care industry must pay capital gains on Senate Finance Committee members this year as investment is cashed out.” Etc., etc.

Its immediate posting benefits aside, Twitter has definitely grown on me as a fertile hothouse environment for exactly this sort of choice, top-shelf snark.

Land of the Lost.

Ever wonder what Shaun of the Dead would’ve been like if it had been an American studio film? Well, I suspect it’d have been bigger and broader in every facet of the game. It’d have more action, more violence, more bodily humor, more star wattage. And it’d probably be less droll, less unconventional, and less memorable. In short, it would probably have been much like Ruben Fleischer’s well-meaning but frothy Zombieland. Don’t get me wrong — Zombieland is a decently fun Friday night, and most of the audience clearly enjoyed it more than I did. But it felt very by-the-numbers to me, and I suspect I’ll remember very little about it after a few weeks, even if the dread zombie apocalypse doesn’t happen between now and then.

So, what’s the rumpus? Well, after a quick breakdown of the rules of surviving said zompocalypse (For example, “Rule 1: Cardio…Fatties die first“), Zombieland basically follows the travails of five of the last humans on Earth. There’s:

  • Columbus (Jesse Eisenberg), a nebbishy UT student who survived the initial outbreak mostly by dint of being an OCD Warcraft shut-in. (Eisenberg has put in some good performances in movies like Roger Dodger and The Squid and the Whale, but he’s slumming it here. In fact, I like them both, but Zombieland makes a strong case for staging a “two-man-enter-one-man-leave” arena deathmatch between Eisenberg and Michael Cera. They’re becoming redundant.)\
  • Tallahassee (Woody Harrelson), a Twinkie-loving good-ole-boy who’s atoning for a family tragedy by cutting a swath through the undead and being damn good at it. (Harrelson seems to be channeling his Mickey Knox from Natural Born Killers again — not sure what it says that the same guy’s gone from being creepy lunatic anti-hero in NBK to unironic, even compassionate hero here. Tone is everything, I guess.)
  • Wichita (Emma Stone), an alluring grifter (she’s basically Mila Kunis’ character from Extract) who’ll double-cross everyone around and do whatever she has to to protect her little sister. (I started thinking of her as Left 4 Dead‘s Zoey after about five minutes of screentime.)
  • Little Rock (Abigail Breslin), said little sister, wise beyond her years yet still really looking forward to a trip to Pacific Playland (a.k.a. Wally World.) (FWIW Breslin, most memorable as Little Miss Sunshine, seems to have made it across the child-star gap that swallowed Jake Lloyd, Haley Jo Osment, and Jonathan Lipnicki whole, and appears to be settling well into a young-Jodie Foster vibe.) And…
  • “Hollywood” (Semi-Secret Cameo), a movie star who the first four encounter along their road trip. As most other reviews have noted, this extended second-act sequence is probably the highlight of the film, and the biggest laugh I enjoyed was when this character is asked at one point about his/her regrets. Still, I also found this section not as funny as it’s being made out to be, for the same reason — my bro and I have a long-standing argument about this — that I don’t much like Family Guy and think Robot Chicken is lame: Just making some random pop-culture reference willy nilly — oh, yeah! I recognize that! — isn’t, to my mind, all that funny. (Imho, the South Park guys pinned this problem to the wall with their classic manatee episode.) Similarly, just recreating moments from this particular star’s back catalog, as happens a few times here, just feels sorta ho-hum to me.I’ll concede that I’m probably being harder on Zombieland than it deserves. It’s a harmless thrill-ride-type entertainment, and I’ll bet it was quite a bit better than a lot of the past summer’s tentpole releases, most of which I skipped. (I’m looking at you, X-Men Joeformers: Salvation.) Still, maybe I’m just an insufferable zombie-snob — this isn’t The Walking Dead or World War Z by any means — but I left Zombieland feeling underwhelmed. To me, it just felt by-the-numbers, with a tired “family is what you make it” plot and a certain laziness — how is the power on everywhere, by the way? — about it. And if anything, the zombies, never once very frightening, seem like a plot convenience more than anything else.

    Also, it’s hard to escape the nagging sensation that this movie is basically just Shaun of the Dead for mooks. This feeling isn’t helped by the earlier-mentioned Family Guy-isms, or the Beavis-and-Butthead-y “I like breakin’ things!” messaging of the middle-going. (Sometimes it’s not even Fleischer’s fault — On its own, the slo-mo credit sequence is good, imaginative fun, but it also can’t help but recall the very similar Watchmen opening, which then involuntarily brings to mind the current mook-King of Hollywood, Zack Snyder.)

    Lemme put it this way: Throughout the movie, the previously-established Zombie Rules — “Beware of Bathrooms,” “Double-Tap,” “Don’t be a Hero” — will flash up on the screen whenever they become pertinent. This often gives Zombieland the feel of the introductory levels — “Press X to jump” — of a not-very-interactive xBox game. And, while I can’t say I had a bad time at Zombieland, it’s hard to shake the sense that that 81 minutes would’ve been much better spent at home, playing Left 4 Dead. Now there’s a zombie-killing quartet I can get behind

Into this Neutral Air.

“The response from Net Neutrality opponents has been fast and furious — but short on facts. The arguments and rhetoric being pushed by the phone and cable industry mostly consist of long-discredited arguments and myths…this policy debate must be bound by facts and reality, not by misdirection and discredited falsehoods.” The Free Press‘s S. Derek Turner refutes ten lousy arguments against Net Neutrality (PDF).

Ardi all the Time.

“‘This is huge. This is the biggest discovery really since the “Lucy” skeleton of the 1970s,’ said Carol Ward, a University of Missouri paleoanthropologist.” Anthropologists uncover and painstakingly recreate a potentially very important skeletal find in the 4.4 million-year-old Ardipithecus ramidus, a.k.a. Ardi. “David Pilbeam, a Harvard paleontologist, noted…’This is an extraordinary achievement, of discovery, recovery, reconstitution, description and analysis, which will keep many others busy for at least another 15 years.’“

“If the scientists who found Ardi are correct, she represents a transitional figure, almost a hybrid — a tree creature who could carry food in her arms as she explored the woodland floor on two legs…’Ardi tells us twice as much as Lucy did. We have hands and feet, a more complete environment, a more complete skeleton, it’s older, it’s more primitive, it shows us the process of transformation from common ancestor to hominid,’ said C. Owen Lovejoy, an anthropologist at Kent State University who was part of the Ardi team.”

Despair Under the Elms.

Growing ever more disaffected and anti-social, Rorschach (Jackie Earle Haley) trades in the inkblot mask for a stripey sweater (he’s kept the fedora, tho’) in the new teaser for Platinum Dune’s forthcoming Nightmare on Elm Street remake.

The original Nightmare was one of the cornerstone scary movies of my youth, but I’m not seeing much to recommend this one yet. And I definitely wish they’d gone more dream-surreal with it and skipped over the goofy Hannibal Rising-style backstory.

How the Irish Became Euro.

“‘Europe has been very good to Ireland,; says Daly, the wine-store owner, who says he’ll vote yes for a second time this week…’People may be unhappy with the government, but to punish them in the Lisbon vote would be the wrong thing to do. Being a member of the euro [currency zone] is what’s got us through the crisis so far. I can’t see Ireland surviving alone.’“

This Friday, Ireland votes on EU’s Lisbon Treaty for the second time. “Support for the treaty has been hovering around 50% for months. In the latest national poll, conducted by the Irish Times last week, 48% of respondents said they supported the agreement, compared to 33% who said they were against it. But a full fifth of the population hasn’t made up their minds, giving the no camp the belief that it can sway enough voters in the final days to make the tally close.“

Outrage, Bought and Paid for.

“The two primary groups — Americans for Prosperity and FreedomWorks — actually grew out of the 2003 breakup of an outfit called Citizens for a Sound Economy that had been integral in the fight against Hillarycare. Indeed, the same ‘Tobacco Strategy’ memo in which Philip Morris boasts of shaping McCaughey’s writings also reveals that the tobacco giant paid Citizens for a Sound Economy to engineer a “grassroots” revolt against health care reform by staging demonstrations in the home districts of key congressmen.“

In Rolling Stone, Tim Dickinson follows the money to expose the Republicans’ recent astro-turfing campaign against health care reform. In short, it’s the “Brooks Brothers Riot” all over again. In fact, “Americans for Prosperity, which has taken the lead in the current fight against reform, is a front group for oil billionaires David and Charles Koch, co-owners of the world’s largest private oil and gas conglomerate…Matt Schlapp, one of the original ‘Brooks Brothers rioters’…now serves as director of federal affairs for Koch Industries, orchestrating the firm’s political efforts in Washington.“