It doesn’t surprise me that when Wes Anderson decided to take on a Roald Dahl story, he skipped right over some of the darker tales that inspired Alfred Hitchcock for his television series “Alfred Hitchcock Presents.” Instead, he went for a softer, more joyous tale of a fox trying to find his place in the world and with his family.

Anderson’s first animated film is a wonderful dive into the cheekily intelligent world that Anderson has established throughout his career. From Bottle Rocket to the Darjeeling Limited, Anderson never fails to create honest, flawed and charming characters–allowing the audience to witness these characters both at their lowest moments and their most endearing. The Fantastic Mr. Fox is no exception. Despite its more familial feel and childlike tone, the film is one of the more intelligent and mature stories released this year.  If Wes Anderson had a plan to win the hearts of film-goers everywhere with this film, he has succeeded.

I have always been a fan of Anderson’s works; I don’t believe he has made a single movie that has not made me laugh out loud, sympathize with the character’s pains, and leave completely enthralled with the mise-en-scene and art-direction. The Fantastic Mr. Fox has simply put Anderson on a new platform entirely. The art of stop-motion animation is a painstaking process. The smallest details are of the utmost importance. In this film, they aren’t even noticeable. The whimsical beauty of the world he created transports you instantaneously, leaving you desperate for more once the credits roll.

The acting, despite animation, is superb. George Clooney is being heralded for his performance, saying it is one of his best. For me, Jason Schwartsman owned the film. Schwartzman plays Ash, Mr. Fox’s only son who is a bit ‘different’ and desperately wants to be like his athletic and ever-charming father. Ash’s cousin, the ever-perfect Kristofferson, comes to visit leaving Ash in a bit of a jealous-angst rut. Shwartzman’s dead-pan tone  mixed perfectly with fantastic costuming (he spends the majority of the film in pajamas tucked into his socks and a towel for a cape) and expression work make for one of the better on-screen characters perhaps in all of Anderson’s films.

As the economy has been weighing heavily on many of us, I understand the urge to stay in and not pay upwards of $12 for a movie ticket. This would be one of the times that the $12 is not only worth it, but necessary.

Related Posts:

• No Related Posts

Said The Whale, photo by: Vanessa Heins

Said The Whale, hailing from the ever-blossoming music town of Vancouver, British Columbia, released their sophomore album last month on Hidden Pony Records. As I was a quick fan to one of their earlier singles “The Light is You,” I was eager to get my hands on the album and check it out. The band’s upbeat sound and amazing energy never fails to leave me wanting more, and all this just from their records! I’m still waiting my turn to catch these guys live.  (Hint: please come to NYC soon!)

The band officially formed just over 2 years ago when songwriters Ben Worcester and Tyler Bancroft decided to embark on a new collaborative effort together, along with Spencer Schoening, Peter Carruthers, and Jaycelyn Brown. They released the updated version of their debut EP, “Howe Sounds/Taking Abalonia,”  in 2008 which quickly became a fan favorite and made the first indentation on the indie music circuit, especially in Canada.

With “Islands Disappear,” it is clear that this quintet is gunning to truly bust through the scene. With catchy folk-driven beats, gritty guitar riffs, airy melodies, and wailing woeful ballads like the title track “Islands Disappear,” the album is an entertaining mind-trip into the lives of these musicians, one that is incessantly pleasing to the ear. The band worked with producers Howard Redekopp (Tegan and Sara, The New Pornographers, Mother Mother) and Tom Dobrzanski (Hey Ocean!, The Zolas), which is clearly evident as the album shares the well-rounded sound found on both Tegan and Sara and Hey Ocean!’s new albums.

The first single off the album “Camilo (The Magician)” is a song that demands to be blared at full volume, despite the pitfalls of grouchy neighbors, cold weather (windows down while driving), or the awkward subway stares. There is no way to avoid it though, so why fight it?

Other standouts from the album include “Emerald Lake, AB”,  the charmingly romantic ” A Cold Night Close to the End”, and the bluegrass-y folk tune of  “False Creek Change,” which very well may be my favorite song on the album. Although, most people will probably be drawn to down right catchy, super uptempo “Out On the Shield,” that is driven by propulsive guitar rhythms more in the vein of indie rock than folk.

Overall, “Islands Disappear” is a solid album; Said The Whale beat the sophomore album slump and delivered a powerful EP that does well to be heard in its entirety. The band is finishing up their crazy tour schedule of the past few months but if you happen to be in Vancouver, be sure to check their upcoming shows on their MySpace page.

Check out their video for “The Light is You”:

Related Posts:

• No Related Posts

Every Fall the networks begin their usual marketing announcements of “Best New Show This Season” and “Most Exciting Drama.” As audiences, we have grown accustomed to tuning it out. They say it every year about every show. One would think that after over 50 years of television the marketing professionals would finally figure out new creative strategies. This season was no different and with large campaigns from Glee, Mercy, Flash Forward and yes, even Cougar Town–it’s come to be that really, there is a best new show of the season and it’s NBC’s Trauma.

Don’t get me wrong, Glee certainly has actually given every network show a good run for its money with its upbeat sing-a-longs and downright hilarious social commentaries but when it comes down to it, the best is usually a tad underrated at first. Like House, MD was six years ago.

Trauma follows the lives of six paramedics in San Francisco and the drama that comes along with it. The first few episodes were a bit shaky, focusing mainly on the formulas given to most medical-related dramas: Accident, blood, doctors, surgery, saving the day–with a dash of  sexual tension thrown in for good measure. But a few short weeks later and the show has begun to map out its path in the world of prime-time television.

The shows two notables are hands down Anastasia Griffith and Cliff Curtis.  Griffith who plays the show’s protagonist Nancy Carnahan–an ex MD who after an as-yet-undiscussed event became a paramedic and whose boyfriend dies in a helicopter crash in the pilot–carries most of the show with her banter and tough-girl demeanor that is both believable and pitiable. You feel for her, her losses–and recognize that this chick has more gall than most men in Manhattan. Curtis plays Rabbit, an “Angel Rescue” paramedic whose blatant disregard for rules and sultry seduction skills make him the would-be child of Don Draper and Gregory House. The New Zealand native owns every scene and has an interesting chemistry with Griffith on screen that keeps you wanting more.

Most medical and crime dramas tend to follow the ‘introduce problem–solve problem’ formula each episode. This is a bit frustrating as we, the audience, are aware that whatever side characters come in will simply be healed and set on their merry ways with the 2 episodes maximum a year where the writers feel diabolical and actually kill someone. Trauma’s writers, though, seem to be interested in telling good stories at the forefront. Two episodes already within the six episodes that have aired have been beautifully written and uniquely moving. “Bad Day at Work” is surprisingly dark and frightening–it tells the story of a disgruntled ex-employee who shoots up an entire office building. The writing does not allow for a g-rated portrayal of the event. You see people hiding under their desks, where the killer looks at them slowly, and then shoots then point blank.  There also was no foreshadowing, we as the audience were caught just as unawares as the characters. To bring it back to the main characters, one’s wife is stuck in the building and the man cowering next to her is shot, she is missed by centimeters. Also, in an attempt to save the wounded–Nancy and Rabbit put their lives in serious jeopardy.

A second great episode puts Nancy and her partner in a severe car accident, where their co-workers are forced to make the moral decision whether to save their friends or the rest of the 20 plus people  injured in the wreckage.

The show is still young but it has plenty of room to grow and I am certain that it will.  Each episode is an exciting thrill-ride complete with blood, guts, gross injuries and crazy scenarios.

Related Posts:

• Gleeam (Fringe Festival 2011)

Walking into a packed theatre at 4:00 in the afternoon on a Wednesday is a bit like an out-of-body experience. Arriving half an hour early, and still vying for a decent seat, is not something that happens often at a Brooklyn theatre. But that is exactly what happened to me this afternoon.

Michael Jackson’s This is It opened today and people around the world seem to have responded. The limited theatrical release time frame of two weeks was a genius move on the part of producers–probably a direct idea of director Kenny Ortega, the mastermind behind Disney’s mega trilogy High School Musical, gearing off the premise set by the Hannah Montana: Best of Both Worlds concert film.

The film was not quite a documentary, not quite a concert event on film and not quite as much of a glimpse into Michael Jackson as the marketing announced. What is was, was an experience. It was a moment that Ortega caught on camera and shared with the world. In a way, the film was less about Michael and more about the young creative talents who he hand selected to be part of his This is It tour. The film opens with quick teary-eyed interview spots from the 11 dancers chosen to be the principals for the tour. The dancers are just kids, in their early twenties at best, crying  - prior to Michael’s death – simply due to the overwhelming opportunity to dance on stage with the King of Pop. Perhaps the most touching story was of an Australian who had heard of the tour two days prior to the auditions; he bought a plane ticket that day and out of thousands–landed the gig.

Though not adhering to format, the film highlighted the dancers and their enthusiasm for both the tour and Michael himself. Shots of them cheering and waving their arms from the floor while watching Michael sing “Billie Jean” and “Man in the Mirror” brought a reality of that moment for these kids. The film also introduced us to the vocalists and musicians who were set to go on tour as well. Throughout the film, there were quiet moments where one could only focus on these talented performers who had defeated the odds gaining an opportunity to work with Michael Jackson, whose dreams died along with the man.

Through soft moments of the hours of rehearsal footage, we were offered a glimpse of Michael never before shared with the public. His love of the music, his rooted knowledge in the songs and how in depth he was to ensure each detail of the show and performance was perfect. His gentle demeanor and burts of humor along with a dedication towards preserving the environment, added new pieces to the puzzle that decades of stardom and the media created.

The music was a collection of the hits throughout the years, it was a compilation of some of his greatest hits. It was what Michael promised to give the world for his tour, and he delivered–just not in the ideal format. The film is worth watching in theatres if you can. The experience of watching the performances on a larger-than-life screen is the closest one we’ll be able to get to the original plan of the tour. Though, more so, it is the experience of watching this film with a room packed full of fans–the cheering after each song, the laughter at personal moments–which allows you to share in the reality that was Michael Jackson’s impact on the world.

Overall: 3 stars (out of five)

Related Posts:

• One Year Later – Remembering Michael (by Howard Bloom)