Of all the movies Joaquin Phoenix could have ended his acting career with, he chose 'Two Lovers.' With his apparently unstoppable rise in the film industry with roles like Commodus in 'Gladiator' and Johnny Cash in 'Walk the Line', he chose the suicidal, monochromatic, boring character Leonard Kraditor, the protagonist in a poorly written script. Couple that character with two beautiful women and a man's inability to choose which one he wants to be with/sleep with and you have a stifling, stilted film. Set that film in a cold, jaded Brooklyn and you only add insult to injury.
Here is the plot in a nutshell. After a devastating breakup with his fiance, Leonard, on the brink of suicide and living with his parents, is introduced to Sandra (Vinessa Shaw), the daughter of his father's business partner/associate. She is sensible, professional, yet sweet. He is attracted to her, but when Michelle (Gwyneth Paltrow) moves into his apartment complex, he begins to have second thoughts about his feelings for Sandra - and which woman he should choose. Sandra and Michelle really could not be different characters, and Leonard's interest in each only serves to manifest different colors of his character, too. With the self-destructive, insecure, but beautiful Michelle, spontaneity, sexiness, and elusive pleasure ring true. Sandra embodies stability, rational decisions, and control. Leonard is visibly torn.
The comparison to Mike Nichols' film 'Closer' surfaced in my brain as I watched 'Two Lovers'. Both involve relationships, infidelity, and pursuit of happiness (and power) - however shallow and worldly. But in 'Closer', I could sympathize and understand the characters more. I could understand the plights, the reasoning; I could see in the actors eyes when there was a change of heart or a flicker of doubt. And to me, the acting was better.
With 'Two Lovers', I just could not empathize or understand Leanard's character. All I could gather was that he is a bored, sad individual who sat around, moped, and tried to make himself feel better by half-heartedly involving himself with two women at the same time. In the end, all he ended up doing was digging himself a deeper hole and ending up right where he started: back at his parents' house.
I should really give it a chance before I give this film a disappointing review. There are some redeeming qualities to it: the cinematography, the acting, and the occasional steamy scene. But In a character-driven film like this one, the script lacked clarity and development. What could have been an interesting, well-acted, final performance by Phoenix just goes unnoticed, in my mind. Maybe he will be better as a white rapper, after all (no jokes, please).
6/10 stars
Wednesday, September 9, 2009
Saturday, July 25, 2009
"In Rainbows" Album Review - Radiohead
I wasn't surprised to learn that Radiohead would release its seventh studio album, In Rainbows, online or that consumers could "purchase" the album by naming any price because I have come to expect this type of innovation from the band. Radiohead fulfilled the contract with record label EMI and opted not to pursue another contract after the 2003 release of Hail to the Thief. The "sale" of In Rainbows over the internet only happened because the band is now a free agent producing as much or as little as it wants. On Oct. 10, 2007, fans logged onto the band’s Web site and welcomed the album into personal download cues across the world. I was one of the many fans making the countdown; and I even remember hearing victorious trumpet chords ringing in my ears when I was finally able to rip this music.
The unprecedented move to release the album online first, according to lead singer Thom Yorke in published news reports, will force consumers to assess how much they are willing to pay for art and music. Yorke also voiced desire to leak the album himself since the band’s previous four albums had been leaked prior to scheduled release dates. The content of the album matches the ambience of the release of the album: singular and upbeat, though not as experimental as 2000’s Kid A or 2001’s Amnesiac. Structurally and lyrically, any one of these songs could have been chosen as commercial singles, which makes this album much more accessible than previous endeavors.
There isn’t a dull moment in this digitally-bound piece of art, and the hype leading up to the release of the album delivers with one of the band’s strongest efforts to date. The opening syncopated rhythms of “15 Step” practically beg the listener to gambol down the hallway, something the listener apparently should not stop doing once the album transitions into “Bodysnatchers.” Punctuated by spastic electric guitars and Yorke’s singularly eccentric voice, rhythmic boldness and accuracy characterize this catchy tune. “Weird Fishes/Arpeggi” evokes 1997’s OK Computer with references to summer and carefree days and is a strong tune with drummer Phil Selway’s constant beat and Jonny Greenwood’s nonchalantly precise lead guitar. Slow-love droning ballad “All I Need” and love-trance tune “House of Cards” incorporate explicable, sentimental and maudlin lyrics (for a change) and relive moments some fans may have thought Yorke had abandoned with 1995’s The Bends. The album’s penultimate tune, “Jigsaw Falling Into Place,” is the single from the album, but perhaps this decision was only necessary and arbitrary. The bittersweet and melancholic closing tune, “Videotape,” is dizzyingly ethereal like gossamer to the ears and slowly brings the album to a cessation. Unlike some Radiohead albums, this one is accessible for a mainstream audience. This isn’t a slight on In Rainbows. Rather, it’s a credit that the band is able to transition seamlessly from computer-influenced music on 2001’s Amnesiac and Hail to the Thief and art music in 2000’s Kid A.
After the band's five year hiatus punctured only by a short tour in 2006, the initial release of the album was a brilliant idea on the band’s part. Forget 99 cent songs purchases at iTunes or purchasing through retailers like Amazon or Borders. These are just ways the consumer would have to pony up the dough. Forget even trying to download the album illegally and risk infecting your computer with a virus. In typical Radiohead fashion, the band went a new route that other bands, perhaps too aligned and tied to their record labels, couldn't attempt. Just as the consumer can choose how much to pay for the album – and thus, assess their allocated value for music – I shall not give this album a star rating. The consumer has the power with this one. Yes, that means you, folks. You choose what you want with this one.
The unprecedented move to release the album online first, according to lead singer Thom Yorke in published news reports, will force consumers to assess how much they are willing to pay for art and music. Yorke also voiced desire to leak the album himself since the band’s previous four albums had been leaked prior to scheduled release dates. The content of the album matches the ambience of the release of the album: singular and upbeat, though not as experimental as 2000’s Kid A or 2001’s Amnesiac. Structurally and lyrically, any one of these songs could have been chosen as commercial singles, which makes this album much more accessible than previous endeavors.
There isn’t a dull moment in this digitally-bound piece of art, and the hype leading up to the release of the album delivers with one of the band’s strongest efforts to date. The opening syncopated rhythms of “15 Step” practically beg the listener to gambol down the hallway, something the listener apparently should not stop doing once the album transitions into “Bodysnatchers.” Punctuated by spastic electric guitars and Yorke’s singularly eccentric voice, rhythmic boldness and accuracy characterize this catchy tune. “Weird Fishes/Arpeggi” evokes 1997’s OK Computer with references to summer and carefree days and is a strong tune with drummer Phil Selway’s constant beat and Jonny Greenwood’s nonchalantly precise lead guitar. Slow-love droning ballad “All I Need” and love-trance tune “House of Cards” incorporate explicable, sentimental and maudlin lyrics (for a change) and relive moments some fans may have thought Yorke had abandoned with 1995’s The Bends. The album’s penultimate tune, “Jigsaw Falling Into Place,” is the single from the album, but perhaps this decision was only necessary and arbitrary. The bittersweet and melancholic closing tune, “Videotape,” is dizzyingly ethereal like gossamer to the ears and slowly brings the album to a cessation. Unlike some Radiohead albums, this one is accessible for a mainstream audience. This isn’t a slight on In Rainbows. Rather, it’s a credit that the band is able to transition seamlessly from computer-influenced music on 2001’s Amnesiac and Hail to the Thief and art music in 2000’s Kid A.
After the band's five year hiatus punctured only by a short tour in 2006, the initial release of the album was a brilliant idea on the band’s part. Forget 99 cent songs purchases at iTunes or purchasing through retailers like Amazon or Borders. These are just ways the consumer would have to pony up the dough. Forget even trying to download the album illegally and risk infecting your computer with a virus. In typical Radiohead fashion, the band went a new route that other bands, perhaps too aligned and tied to their record labels, couldn't attempt. Just as the consumer can choose how much to pay for the album – and thus, assess their allocated value for music – I shall not give this album a star rating. The consumer has the power with this one. Yes, that means you, folks. You choose what you want with this one.
Wednesday, July 22, 2009
Welcome to my Blog
Hello, my name is Alice. Welcome to my blog - I'm so glad you stopped by. Please do grab a chair and put up your feet (and grab a drink, if you're up for it).
There are millions of blogs out there specializing in everything from wine and food to sewing, manufacturing, business and politics. Why should I add yet another blog to that large internet pile of information? More importantly, why should you even read my blog? And what exactly is the focus of it, anyway?
In this blog, I will dissect, critically assess and review the books, music, and films that I watch and digest. I will give my candid opinion of why I believe they are worthwhile and/or a time waster. I will rate each book and film on a 10 point scale (10 being the highest).
There won't be a specific genre or type of book, music or film that I will grade - nor will they all be new. I'll review what I'm currently viewing or studying so you can have an honest idea regarding my choices.I am open to many types of entertainment here, and my choices should reflect that.
Why should you read my blog? Well, hopefully you're here because you have an interest in music, film, and reading. More importantly, you like to critically assess, think about, and discuss these things you encounter/digest. Perhaps you're an intellectual. Perhaps you're in the film, music, or editorial industries and like to stay up-to-date. Perhaps you're a blogger yourself and are interested to see what else is out there. Whatever your reason for coming to my blog, thank you for doing so. I'm sure there is something here for everyone.
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