"30 Days of Night" Almost Gets it Right

TRASH IN MY EYE No. 135 (of 2007) by Leroy Douresseaux


30 Days of Night (2007)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for strong horror violence and language
DIRECTOR: David Slade
WRITERS: Steve Niles, Stuart Beattie, and Brian Nelson (based on the comic by Steve Niles and Ben Templesmith)
PRODUCERS: Sam Raimi and Robert G. Tapert
CINEMATOGRAPHER: Jo Willems (D.o.P.)
EDITOR: Art Jones

HORROR/THRILLER with elements of mystery

Starring: Josh Hartnett, Melissa George, Danny Huston, Ben Foster, Mark Boone Junior, Mark Rendall, Manu Bennett, Megan Franich, and Joel Tobeck

Barrow, Alaska is the northernmost town in the United States and is isolated, about 80 miles from the next nearest town. At one point during winter, the sun does not appear for 30 days and nights. This year, when the darkness falls, a stranger (Ben Foster) arrives in Barrow. Unknown to the residents of this isolated village, the stranger is the harbinger of a legendary evil hungry to feed on them. Barrow’s youthful sheriff, Eben Oleson (Josh Hartnett), and his estranged wife, Stella Oleson (Melissa George), lead a small band of survivors against the marauding killers and their terrifying leader, Marlow (Danny Huston). Their only hope is to hide and survive the 30 days of night.

Part of the selling of 30 Days of Night was to tell potential audiences that the film would be some kind of new vision of vampires, but the truth is that this movie is like an imaginative retelling of the 80’s vampire flick, Near Dark. Director David Slade (Hard Candy) creates a proficient, atmospheric horror film, recalling the claustrophobic dread of John Carpenter’s The Thing, and composer Brian Reitzell’s unnerving score also adds a deeply ominous mood over the movie. However, the storytelling ultimately takes a backseat to the clever premise, and the movie suffers for it.

Midway through, the film comes frayed at the ends. The cool idea – to set a vampire tale in a place where night last for 30 days – can’t save a movie where the narrative is a collection of scenes and plot points rather than an actual story. There’s not so much as a beginning, middle, and end as there is a series of vampire attacks. Also, the characters are merely fodder – meat for the beasts, and they’re played by a dreary, chilly cast, although Josh Hartnett and Melissa George stand out for reasons that will be obvious. Who are the people of Barrow? What do they like, and what are their goals? What makes them want to live in an extremely remote place like Barrow, where it’s actually dangerous to live? Those questions are never posed because the filmmakers are obsessed with the blood and guts of horror to the neglect of anything about good storytelling.

30 Days of Night will ultimately be remembered as a good idea that became a misfire in the hands of filmmakers so blinded by the surface shine that they wouldn’t dig deep. Yes, it does have its inspired moments and can entertain, but what could have been a special horror flick ends up being yet another flashy display of horror movie blood and excessive violence.

5 of 10
B-

Monday, November 05, 2007

Pixar's Lasseter and Catmull on Steve Jobs' Passing

John Lasseter, Chief Creative Officer & Ed Catmull, President, Walt Disney and Pixar Animation Studios on Steve Jobs’ Passing

EMERYVILLE, Calif.--(BUSINESS WIRE)--The following is a statement from John Lasseter, Chief Creative Officer & Ed Catmull, President, Walt Disney and Pixar Animation Studios on Steve Jobs’ passing:

"Steve Jobs was an extraordinary visionary, our very dear friend and the guiding light of the Pixar family. He saw the potential of what Pixar could be before the rest of us, and beyond what anyone ever imagined. Steve took a chance on us and believed in our crazy dream of making computer animated films; the one thing he always said was to simply 'make it great.' He is why Pixar turned out the way we did and his strength, integrity and love of life has made us all better people. He will forever be a part of Pixar’s DNA. Our hearts go out to his wife Laurene and their children during this incredibly difficult time."

Disney President and CEO on Passing of Steve Jobs

Robert A. Iger, President and CEO, The Walt Disney Company on Steve Jobs’ Passing

BURBANK, Calif.--(BUSINESS WIRE)--The following is a statement from Robert A. Iger, President and CEO, The Walt Disney Company on Steve Jobs’ passing:

Steve Jobs was a great friend as well as a trusted advisor. His legacy will extend far beyond the products he created or the businesses he built. It will be the millions of people he inspired, the lives he changed, and the culture he defined. Steve was such an “original,” with a thoroughly creative, imaginative mind that defined an era. Despite all he accomplished, it feels like he was just getting started. With his passing the world has lost a rare original, Disney has lost a member of our family, and I have lost a great friend. Our thoughts and prayers are with his wife Laurene and his children during this difficult time.

Naruto Shippuden: Bonds to Premiere at 2011 New York Comic Con

VISIT VIZ MEDIA AT NEW YORK COMIC CON, BOOTH #932 FOR FREE TICKETS TO THE PREMIERE

VIZ MEDIA ANNOUNCES THEATRICAL PREMIERE OF NARUTO SHIPPUDEN THE MOVIE: BONDS

Japanese NARUTO Voice Actress Junko Takeuchi To Attend Special Premiere Event Held During 2011 New York Comic Con

San Francisco, CA, October 4, 2011 – VIZ Media, LLC (VIZ Media), the largest distributor and licensor of anime and manga in North America, complements its presence at the 2011 New York Comic Con with the exclusive U.S. theatrical premiere of the latest NARUTO SHIPPUDEN feature film, NARUTO SHIPPUDEN THE MOVIE: BONDS (English subtitled), on Saturday, October 15th at 7:00pm at the New York School of Visual Arts Theatre. A special pre-show red carpet event featuring Japanese voice actress Junko Takeuchi, who provides the original voice for Naruto, will take place at the theatre beginning at 6:00pm.

The School of Visual Arts Theatre is located at 333 West 23rd Street, within walking distance of the Jacob Javits Convention Center where the 2011 New York Comic Con will take place October 13th–16th. Seating is on a first-come/first-served basis. Comic Con attendees can secure free tickets to the premiere at VIZ Media’s Booth #932. Check a schedule posted at the VIZ Media booth for the designated times for free ticket giveaways!

The first 200 attendees in line for the premiere will receive a NARUTO plush toy. Premiere attendees will also receive a special VIZ Media Heroes Of Anime gift bag with an amazing assortment of goodies, including the NARUTO SHIPPUDEN™: Ultimate Ninja Impact™ video game for the PSP (courtesy Namco Bandai), NARUTO SHIPPUDEN Collectable Card Game packs (courtesy Bandai America), NARUTO keychains (courtesy Great Eastern), and other assorted collectibles.

“Junko Takeuchi is one of the most respected voice actors in the Japanese anime industry and we’re honored to welcome her as a very special guest of honor for this theatrical premiere event,” says Candice Uyloan, Director, Marketing. “NARUTO SHIPPUDEN THE MOVIE: BONDS is the second feature film in the NARUTO SHIPPUDEN story arc and Naruto and his friends must face down a dangerous new airborne menace in this latest action-packed adventure. Don’t miss this fun event which is sure to be a must-attend for every anime and action film fan during New York Comic Con!”

In NARUTO SHIPPUDEN THE MOVIE: BONDS (rated ‘T+’ for Older Teens), a group of mysterious flying ninja have arrived from overseas to launch a sudden attack against the Hidden Leaf Village, leaving behind a wake of destruction. The group is revealed to be the “Sky Ninja” from the Land of Sky, a nation thought to have been destroyed by the Hidden Leaf Village long ago. To save their village, Naruto and his friends set out to stop this new threat. During the course of the mission, Naruto crosses paths with Sasuke, his friend who has parted ways from the Leaf Village.

More informationon NARUTO SHIPPUDEN THE MOVIE: BONDS is available at http://www.naruto.com/ and www.VIZ.com/naruto-shippuden-movie-video.


About VIZ Media, LLC
Headquartered in San Francisco, California, VIZ Media distributes, markets and licenses the best anime and manga titles direct from Japan. Owned by three of Japan's largest manga and animation companies, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media has the most extensive library of anime and manga for English speaking audiences in North America, the United Kingdom, Ireland and South Africa. With its popular monthly manga anthology SHONEN JUMP magazine and blockbuster properties like NARUTO, BLEACH and INUYASHA, VIZ Media offers cutting-edge action, romance and family friendly properties for anime, manga, science fiction and fantasy fans of all ages. VIZ Media properties are available as graphic novels, DVDs, animated television series, feature films, downloadable and streaming video and a variety of consumer products. Learn more about VIZ Media, anime and manga at http://www.viz.com/.

Review: "Shutter" a Creepy, Moody Ghost Story

TRASH IN MY EYE No. 16 (of 2008) by Leroy Douresseaux

Shutter (2008)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG-13 for terror, disturbing images, sexual content, and language
DIRECTOR: Masayuki Ochiai
WRITER: Luke Dawson
PRODUCERS: Doug Davison, Takashige Ichise, and Roy Lee
CINEMATOGRAPHER: Katsumi Yanagishima
EDITORS: Tim Alverson and Michael N. Knue

HORROR/MYSTERY/THRILLER

Starring: Joshua Jackson, Rachael Taylor, Megumi Okina, David Denman, John Hensley, and Maya Hazen

The new 20th Century Fox release, Shutter, is a remake of a 2004 Thai film (which was also remade in the nation of Tamil). It’s a unique blend of a Thai original turned J-horror (Japanese horror) by a Japanese director, Masayuki Ochiai (Saimin, Kansen), with American money.

The 2008 Shutter follows newlyweds Benjamin (Joshua Jackson) and Jane Shaw (Rachael Taylor) as they move to Japan for Ben’s new assignment, a lucrative fashion shoot in Tokyo. One evening, Ben and Jane are making their way home on a mountain road when Jane, who is driving the car, hits a young woman standing in the middle of the road. She seemed to have materialized out of nowhere, but later, the police cannot find a body, and the incident leaves Jane shaking.

Ben, having worked in Japan before, is fluent in Japanese and easily reunites with his old friends and colleagues, while Jane struggles to adapt and makes unsettling ventures into Tokyo. Taking her own photographs, Jane soon discovers mysterious white blurs – eerily almost human in form – appearing in these pictures. Soon, Ben’s expensive photo shoots are ruined when these ghostly blurs start appearing in his photographs. Jane comes to believe that the blurs in the photographs are evidence of the spirit of the dead girl she ran over on the road, come back to haunt her for leaving her body in the woods. However, the truth is far darker and may tear Jane’s new life apart.

Shutter eagerly follows the J-horror formula that made other American remakes of Asian horror films successful, including The Ring and The Grudge. It’s a formula that takes the angry ghost of a dead girl or young woman and sets her loose on the unsuspecting humans that either got too close to her anger or hurt her when she lived. Shutter, however, is more than just another Asian dead girl ghost story. Masayuki Ochiai makes Shutter a genuinely creepy affair, so full of moody atmosphere that this movie seems like a fog-drenched ghost story right off the damp cobblestone streets of some Victorian nightmare. The bumps, moans, footsteps, and assorted odd noises that make a scary movie unnerving are all here. The angry spirit materializes out of the dark areas behind characters and menacing shadows, always lurking around the corner, make frequent appearances.

Sure, Shutter is mostly formula. The script by Luke Dawson eschews delving into the surprisingly complex characters with their savory back stories in favor of working the frights and scares. If you easily buy into the kinds of ghostly scenarios presented by movies like The Grudge, you’ll wear Shutter’s layered ambiance of dread over your shoulders like a heavy cloak and clutch yourself in fear.

6 of 10
B

Monday, March 24, 2008

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Documentary "Vinylmania" Investigates Love of Vinyl Records

New Documentary Film Focuses on Vinyl Records

Vinylmania explains why audiophiles choose vinyl records over digital music

PASADENA, Calif.--(BUSINESS WIRE)--When Italian disc jockey Paolo Campana travels, it’s no surprise he listens to a lot of music. But how he does it turns the heads of other travelers he encounters. Unlike most of them, he doesn’t plug into an iPod with 40,000 songs ready for instant playback. Instead he fishes out a 12-inch vinyl record from a large case, drops it onto a battery-operated turntable, lifts the arm over the record and sets the needle down on a track.

This is all too much trouble for most music fans used to the ease of digital media players. But for Paolo the difference between the sound of vinyl and that of mp3s is like the difference between eating a meal at a five-star restaurant versus fast food. “The sound is so much warmer and more satisfying,” he states with conviction. “It’s the ‘slow food’ of the music experience.”

Paolo is not alone. The Vinyl market has been one of the few bright spots in the music industry in recent years. From 2006 to 2010, vinyl record sales rose over 300% and are still rising. Surprisingly it is young people who have grown up with digital entertainment who are leading this trend.

Writer Owen McCafferty is at work on a book explaining why. “Our generation has grown up in an entirely digital atmosphere. Music for most young people was always so detached and intangible. Vinyl satisfies that void of being so disconnected physically.” Owen describes this as the “digital devolution.”

Paolo’s own obsession with vinyl records prompted his 75-minute film, Vinylmania: When Life Runs at 33 RPMs. Set in 11 different cities worldwide and filled with fascinating characters, the film documents a global road trip exploring the role of vinyl records in the 21st century. The film airs on European TV later this year, but Paolo has launched a Kickstarter campaign to raise funds to distribute the film to a broader audience on DVD.

“Devotion, ecstasy, infatuation, agony—all the feelings I experienced from childhood, come out through the characters in this film,” says Paolo. The film features some key “vinylmaniacs.” Among the more well known are Klaus Flouride, bassist for the Dead Kennedys, and Winston Smith, artist for some of the Green Day and Dead Kennedys albums.

http://www.vinylmaniafilm.com/

Review: "Clueless" is Best Remembered for Who Was in It

TRASH IN MY EYE No. 4 (of 2002) by Leroy Douresseaux

Clueless (1995)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – PG-13 for sex related dialogue and some teen use of alcohol and drugs
WRITER/DIRECTOR: Amy Heckerling
PRODUCERS: Robert Lawrence and Scott Rudin
CINEMATOGRAPHER: Bill Pope
EDITOR: Debra Chiate

COMEDY

Starring: Alicia Silverstone, Paul Rudd, Brittany Murphy, Stacy Dash, Donald Faison, Dan Hedaya, Breckin Meyer, Justin Walker, Wallace Shawn, Jeremy Sisto, and Julie Brown

Clueless is certainly one of the most entertaining “teenaged” movies ever made, and it is thus so because of its creator, writer-director Amy Heckerling. Heckerling (Look Who’s Talking) is well remembered for directing another landmark movie about teenagers, the fantastic Fast Times at Ridgemont High, which influenced the pop culture of at least two generations of teenagers and young people after its 1982 debut.

Cher Horowitz (Alicia Silverstone) is a pampered Beverly Hills princess who shops for fine clothes, shoes, and accessories almost non-stop. With her friend Dionne Marie Davenport (Stacey Dash), she is the most popular girl in school. When she draws the ire of her father Mel (Dan Hedaya) for poor grades, she decides that she can earn a better grade from one of her teachers, Mr. Alphonse Hall (Wallace Shawn), by setting him up with a girl friend.

That venture successful, she decides to upgrade the looks of the new girl in school, Tai Fraiser (Brittany Murphy), and to find a boyfriend for Tai. It is during her manipulation of other people’s status that she slowly discovers she is really lonely. Her frustrating search for companionship reveals to her that she is the one who is clueless.

Clueless was probably the first film to capture the attention and bucks of the so-called Generation Y baby boomers. Like the out-of-nowhere hit making band Hanson, Clueless was a surprise success. It captured the flavor and essences of Southern California teenagers from well-to-do and affluent families who could indulge their children with expensive toys, clothes, cars, and other material things. Heckerling ably captures the language and style of these teens, simultaneously poking at and documenting them in her fictional film. Her most important achievement was that she took those character types and made a good film out of it.

The performances are actually understated and accomplished considering that the characters are so over the top. Ms. Silverstone, the youthful blond of the moment for a few years, portrays Cher as thoughtful girl, who truly does understand the needs of others, but strictly through her needs. The goal of the movie seems to be to teach her that she doesn’t have to only help people if it benefits her as much, if not more than, the ones she is helping. Ms. Silverstone subtly travels that path of education all the while keeping her character interesting and entertaining. Sometimes a good character can become a bore during the course of a film when the creators are trying to teach that character a lesson.

The rest of the cast is equally up to the challenge of entertaining. Paul Rudd is quite good as Cher’s stepbrother Josh Lucas, and Dan Hedaya’s Mel is the perfect wrangler for his daughter. There is also a wealth of young Hollywood faces and character actors who take their turn making the world of Cher so vivid, so silly, and so joyous.

And that’s what this movie is - joyous.

Fun, silly, irreverent, it is also a sly commentary on particular group of the youth of America, but the film possesses enough charm that the viewer focuses mostly on the comedy and romance. Only the keenest mind of a killjoy would focus on how vacuous this film can be at times. Heckerling has created a bright, sunny movie that is both smart and enjoyable. Part parody, part satire, and a little farce, Clueless is, alas, simply fun to watch.

6 of 10
B

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