Tuesday, October 4, 2011
Friday, September 23, 2011
Moneyball
Finally, a baseball movie for baseball fans. Plus you find out early on what an "ugly girlfriend" is in baseball lexicon. Yes, much has been made about the historical inaccuracies of Moneyball along with the fact the film ignores the contributions of Barry Zito (Cy Young) and Miguel Tejada (MVP) to the 2002 A's, but it's still that rare baseball film that actually gets into the nuts and bolts of the game instead of the surface dressing and symbolism of baseball. ("The Natural" has as much to do with real baseball as does "Harry Potter"). It touches on scouting, trade negotiations and the manager/general manager dynamic you won't see in many if any baseball flicks.
Brad Pitt's portrayal of Beane isn't quite Tyler Durden meets Theo Epstein, but there are occasional glimpses of Pitt's career-defining performance as Durden in his performance of the A's single-minded GM. I appreciated that Pitt didn't play the role sympathetically and made Beane an abrupt, brooding loner. Jonah Hill's venture into drama is more hit-or-miss, he's funny but the humor is mainly derived from his reactions to others, his character of Peter Brand (based on Paul Depodesta, who ironically is now with the Mets, the team Beane first played for the in majors) could have had a bit more personality and still not clashed with Pitt. Philip Seymour Hoffman is better as A's skipper Art Howe than he's getting credit for and the conflicts between him and Pitt were some of the best character interaction in the film and provided rare dramatic tension. That struggle for power between Howe and Beane could have been further developed when the media started crediting Howe for the 2002 A's record-setting winning streak, but the film bypasses that with just a passing reference.
Never thought I'd see a major motion picture from Sony focusing on...Scott Hatteberg (Chris Pratt), including visiting the Hatteberg home on New Year's Eve. But 'Hatty' becomes a sort of an emblem of the Moneyball philosophy and it all ties together when Hatteberg hits the game-winning homer that seals the A's 20th consecutive victory in 2002, the 'high water mark' for Beane's 2000-03 Moneyball run, a team that lost 4 straight postseason series (although the 2006 A's did actually win the first round of the playoffs).
The flashbacks to Beane's early years as a high school phenom and later bust for the Mets/Twins/A's in the 1980's as the worst player on a lot of great teams are effective and give the film a larger and yet more personal context than just focusing on the 2002 A's payroll. Pitt's relationship with his daughter Casey (Kerris Dorsey) works, and we even see the musical bond between them (in real life, Billy and Casey have gone to punk rock shows together, though the only nod to punk in the film is a Clash poster in Billy's office).
Director Bennett Miller has made a solid baseball movie with genuine emotions, though neither the suspense of the game or Beane's persona/inner demons overwhelm the viewer, but at least you know to avoid drafting a prospective player with an "ugly girlfriend". Give Moneyball 4 out of 5 Alvin Dark baseball gloves.
Brad Pitt's portrayal of Beane isn't quite Tyler Durden meets Theo Epstein, but there are occasional glimpses of Pitt's career-defining performance as Durden in his performance of the A's single-minded GM. I appreciated that Pitt didn't play the role sympathetically and made Beane an abrupt, brooding loner. Jonah Hill's venture into drama is more hit-or-miss, he's funny but the humor is mainly derived from his reactions to others, his character of Peter Brand (based on Paul Depodesta, who ironically is now with the Mets, the team Beane first played for the in majors) could have had a bit more personality and still not clashed with Pitt. Philip Seymour Hoffman is better as A's skipper Art Howe than he's getting credit for and the conflicts between him and Pitt were some of the best character interaction in the film and provided rare dramatic tension. That struggle for power between Howe and Beane could have been further developed when the media started crediting Howe for the 2002 A's record-setting winning streak, but the film bypasses that with just a passing reference.
Never thought I'd see a major motion picture from Sony focusing on...Scott Hatteberg (Chris Pratt), including visiting the Hatteberg home on New Year's Eve. But 'Hatty' becomes a sort of an emblem of the Moneyball philosophy and it all ties together when Hatteberg hits the game-winning homer that seals the A's 20th consecutive victory in 2002, the 'high water mark' for Beane's 2000-03 Moneyball run, a team that lost 4 straight postseason series (although the 2006 A's did actually win the first round of the playoffs).
The flashbacks to Beane's early years as a high school phenom and later bust for the Mets/Twins/A's in the 1980's as the worst player on a lot of great teams are effective and give the film a larger and yet more personal context than just focusing on the 2002 A's payroll. Pitt's relationship with his daughter Casey (Kerris Dorsey) works, and we even see the musical bond between them (in real life, Billy and Casey have gone to punk rock shows together, though the only nod to punk in the film is a Clash poster in Billy's office).
Director Bennett Miller has made a solid baseball movie with genuine emotions, though neither the suspense of the game or Beane's persona/inner demons overwhelm the viewer, but at least you know to avoid drafting a prospective player with an "ugly girlfriend". Give Moneyball 4 out of 5 Alvin Dark baseball gloves.
Tuesday, September 20, 2011
Fall TV #1
Two and a Half Men--Kutcher ain't Sheen, I think we all know that. The season premiere made me a laugh a few times, mostly from Cryer's character so I'll keep watching but not optimistically.
2 Broke Girls--Kat Dennings (the brunette) can act, Beth Behrs (the blonde) can't. The 'tally' of how much money the two broke babes have earned each week is gimmicky, like a rip of the 'Met Your Mother' concept.
Playboy Club--I can appreciate the 1960's Chicago vibe though the mob elements seemed forced and not very menacing. Amber Heard is a goddess and there's plenty of other eye candy. It could use some more humor, it's not the CIA it's the Bunny Club.
2 Broke Girls--Kat Dennings (the brunette) can act, Beth Behrs (the blonde) can't. The 'tally' of how much money the two broke babes have earned each week is gimmicky, like a rip of the 'Met Your Mother' concept.
Playboy Club--I can appreciate the 1960's Chicago vibe though the mob elements seemed forced and not very menacing. Amber Heard is a goddess and there's plenty of other eye candy. It could use some more humor, it's not the CIA it's the Bunny Club.
Monday, August 22, 2011
Friday, July 22, 2011
Captain America: The First Avenger
Never thought I'd heard "Siegfried's Funeral March" (my candidate for "greatest piece of music of all time") in a comic book movie, but it is indeed part of the soundtrack. In fact, its use underscores the biggest flaw in CA: TFA, that the character of Johann Schmidt/Red Skull was not fully developed to reach his full dramatic potential and the 'showdown' with Cap wasn't all that it could have been. It's great they made CA: TFA a full two-hour movie, but a lot of the scenes developing Steve/Cap's character could have been trimmed a minute or so and redistributed to showing us the early Skull years, how he was a nobody like Steve Rogers before his 'big break' to become the Skull ala Rogers' opportunity to become Cap. Weaving was good as the Skull but he wasn't given the chance to breathe full life into the character and have him establish the presence he did with Agent Smith in the Matrix movies and as V in V for Vendetta. CA: TFA is a good film even though so much is changed from the comics; Hydra as the secret society behind the Nazis, Bucky as Cap's old friend who dies prematurely. I did enjoy the 'trippy' ending where Cap realizes the baseball radio broadcast is fake and breaks out of the phony hospital room, for a minute I didn't know what was going on. If you're going to see it, stay for the end of the credits to see a new scene a tease trailer for The Avengers, which should be great.
3 out of 5 shields for Captain America: The First Avenger.
3 out of 5 shields for Captain America: The First Avenger.
Wednesday, July 13, 2011
X-Men: Schism
Very impressed, best comic of 2011, right up there with Captain America: Hail Hydra. Jason Aaron's script is superb, the dialogue between Cyclops and Wolverine was both funny and insightful. The Carlos Pacheco artwork is borderline spectacular, and the splash and double splash pages of image only were among the best I've seen from Marvel since the Kirby glory days. Won't give away the ending but needless to say it's a jaw-dropper. At first I didn't know what to make of the whole Kade Kilgore plot thread, but it all came together in the end. One thing about 21st Century Marvel Comics--they know how to execute a cliffhanger and keep you jonesing for more. With 80% more Schism left, can't wait for the next installment.
Monday, July 4, 2011
Gotterdammerung 7-3-11 San Francisco Opera
The SFO's Ring cycle in 2011 concluded on a mostly spectacular note with the 7-3 performance of Gotterdammerung. I didn't care for the setting of the Norns' prelude scene, and the cable instead of the strings of fate was awkward, but the three women did have chemistry. Though I though Runnicles' conducting rushed the scene a bit. Melissa Citro was perhaps the sexiest--dare I say sluttiest--Gutrune ever, she revealed a different side to the character instead of the typical frumpy Gutrune. Andrea Silvestrelli was impressive and menacing as the black-garbed Hagen, standing in the shadows, overseeing the action that he seeks to manipulate to his malevolent ends. The Prologue/First Act sets were mostly unremarkable. I did enjoy the 'TV screen' effect in the Hagen/Alberich scene to begin Act II and the use of the remote to 'draw the curtain', pretty clever. The Gibichung chorus was done as a fascist army and with the setting, gave off a very 'Pink Floyd The Wall' vibe. Easily the most dramatic moment of this entire Ring took in the scene in which Brunnhilde is brought to marry Gunther; it was very stark, yet cinematic--it felt like I was watching a movie at this point. Nina Stemme can act as well as sing. In Act III the Rhinemaidens were suitably sexy, one of them even sitting on Siegfried's lap ala a stripper. Ian Storey as Siegfried this time around did seem a little more nobler and less buffoonish. The scene where Hagen stabs Siegfried in the back was done too fast and "Siegfried's Funeral March", which I consider the greatest piece of music ever written--it's simultaneously tragic and triumphant--also felt rushed by Runnicles. As the final scene approached, and Brunnhilde walked into the Rhine, I was a bit put off by the staging and the effects, but then the curtains of fire appeared and then they had a little girl carry out a young tree to be planted as a symbol of new life after the corrupt old order of the gods and Niebelung had passed away. It brought a tear to my eye as the last strains of the transcendent music descened upon the War Memorial Opera House. I give this Gotterdammerrung 4 rescued rings out of 5.
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