Having missed a few screenings by being out of town or ill, it was nice to start catching up on being ahead by seeing Evan Almighty.
The film doesn't really resemble its predecessor, Bruce Almighty. That movie was a mostly non-Christian take on man's relationship with God, with a protagonist (Jim Carrey) often frustrated with the world and himself. This one is a family film that derives more directly from the Bible and has a hero (Steve Carell) who's a bit of an empty vessel even before he's asked by God to build one.
And speaking of God, why so little Morgan Freeman this time? He's just as personable and wise as before, but isn't on screen as much or as memorably. After accepting his mission, Evan becomes significantly self-reliant, in perhaps a parallel to the story of Noah's Ark. But the reduced screen time of Freeman hurts.
The movie coasts along smoothly, with Buffalo news anchor Evan Baxter now a recently elected Congressman who relocates to Washington, DC with his wife (Lauren Graham) and three sons. The Bible references come early and often, and we get the idea that Evan's calling and his job form a quite literal church vs. state conflict. It's a clever conceit that masks flaws you don't really think about until after the movie.
A few words on the film's bloated budget, attributable mostly to shooting delays, special effects, and animal wrangling: I got the feeling that the film tries to karmically recoup these expenses by focusing heavily on the animals, perhaps sacrificing character development and story. It's as if the filmmakers needed to show why the film was so expensive.
We should dance and sing Motown songs into our hairbrushes.
-- Lorelai Gilmore (Lauren Graham) on TV's Gilmore GirlsBe careful what you wish for. I saw a sneak of Because I Said So Monday. Diane Keaton plays Daphne Wilder, a single mother with three adult daughters: Maggie (Graham), Mae (Piper Perabo), and unmarried Milly (Mandy Moore).
This kind of film is what it is: an okay chick flick, allegedly sweet and easily forgettable. Looking for an interesting angle, I was planning to discuss how it ran through a checklist of Hollywood chick flick clichés, but The Movie Mark already did it for me.
What else is there to say? Nothing coherent. I never use bullets!
- In a supporting role, Graham toned down her trademark chattiness to play a character who's clever only in small doses. She needs more non-Lorelai roles like this to expand her range. Next up: Steve Carell's wife in Evan Almighty.
- It follows the blueprint of Sweet Home Alabama. Moore is like Reese Witherspoon, successful and independent. Tom Everett Scott is Patrick Dempsey, the bachelor seemingly perfect in every way. And Gabriel Macht -- the self-made earthy man -- even looks like Josh Lucas, who in turn resembles Matthew McConaughey, but the transitive property does not apply.
- There's a romance between Keaton and Stephen Collins, which bothered me because he played her ex in The First Wives Club. Has everyone else forgotten?
- I was hoping for more edginess from director Michael Lehmann: maybe not as much as his Heathers, but about as much as his The Truth About Cats and Dogs. There's a hint of quirk in the side plot involving Graham's therapist character and her hapless patient, played by Tony Hale.
Not a great year for television when the highlights are Soul Patrol and Snow Patrol, but here are 10 preferences.
10. Rock Star Supernova, CBS. Where to begin? Tommy Lee's bi-curiosity? Gilby Clarke's hair? Jason Newsted's nonsensical advice? That a decision was made weeks before the finale? Or the consensus that the "supergroup" won't last a year? No matter. It was the only thing worth watching in a lean summer.
9. Two and a Half Men, CBS. I know the sitcom format is much maligned, but I will never understand why critics dismiss this show just because it's successful. Truth be told, it's the most subversive show on television, a reliably funny dismantling of marriage, family, and personal sanity. I'm absolutely stunned that something so mean-spirited is this popular. My only nitpick? Not enough Rose, played by the divine Melanie Lynskey.
8. Grey's Anatomy, ABC. Despite the soft-rock soundtrack of The Fray and the aforementioned Snow Patrol, this show put together a terrific Super Bowl episode and didn't really let up for the rest of the season. This fall, however, has been a mild drag, as its two best characters -- Izzie Stevens (Katherine Heigl) and Preston Burke (Isaiah Washington) aren't at full speed.
7. 30 Rock, NBC. Look, it brings the funny every week, and creator Tina Fey doesn't seem to care if it's highbrow or not. Alec Baldwin's bizarro performance leads an otherwise unphotogenic and underdog cast. More importantly, it keeps getting better with each episode. A worthy addition to that Thursday night comedy lineup.
6. The Colbert Report, Comedy Central. I'm beginning to see how the act may begin to wear thin, but until then, it's still damn entertaining. The host's tireless effort to franchise his popularity seems to be working: Colbert Nation is a lot more than a website.
5. House, FOX. I don't love the current developments that threaten to shake up the best civil union on TV, played by Hugh Laurie and Robert Sean Leonard. But something had to be done to separate the show from the cold procedural format. And all 6 characters are much more interesting this season.
4. Men in Trees, ABC. Yes, it's Sex and the City meets Northern Exposure, with Anne Heche as the allegedly hetero lead. I cannot explain why this show works. Maybe it's because the quirks in the girl and the town are actually turned down for a change. Or maybe it's the inn manager/radio DJ who sounds like Owen Wilson.
3. How I Met Your Mother, CBS. One of the more underrated ensembles on TV plays around with romance and time some more, slowly feeding us tidbits about these characters' lives. The lack of critical or audience attention gives the showrunners the initiative to attempt some very bizarre comedy. (Watch the episode that reveals why Robin won't go to the mall anymore, and you'll agree.)
2. Heroes, NBC. This season introduced a bunch of serialized shows with complicated plots that required audience attention and retention (like The Nine, Kidnapped, and Vanished). The problem? I don't think the average viewer can tolerate keeping up with more than 2 of these kinds of shows, and they already watch Lost and/or 24. So why did this show succeed? Because it was fun. And never underestimate the power of a show that begins in India.
1. Prison Break, FOX. I hope the rumors of a third season are untrue, because this show will sputter by then. For now, however, it remains the best show on TV for the second straight year. At one point I thought I'd figured out how the story would play out to form a lawful if uneasy resolution. Then the show killed off the one person who could make that resolution happen. Serves me right for trying to think things through. Ludicrous and compelling, it's the ultimate in escapism.
Honorable mention: Studio 60 on the Sunset Strip, NBC. This show could be great if its creators emulated the idealism of The West Wing rather than its red state/blue state politics. The Bartlet White House worked (at least the first few seasons) because it was a fantasy of what a presidency should be. Studio 60 should spend more time trying to convey an idealized Saturday Night Live, where the sketches are always funny and the hosts are fresh and perfect. (The Lauren Graham/Sting pairing was inspired, even though they wasted that opportunity.) One thing the show gets right: strong, breakout female performances (from Sarah Paulson and Amanda Peet), which almost never happened on SNL.
Dishonorable mention: The Class, CBS. I've already lamented its racist casting of 8 white leads here, ridiculous and irresponsible for a series set in Philadelphia. There may be worse shows, but I watch this one because it's wedged between #3 and #9 on my list. Sadly, I can count on one decent laugh each time. So it's worse than bad: it's watchably bad.
So I read that Disney plans to remake the 1987 film Adventures in Babysitting, with Raven Symone (of the Disney Channel's "That's So Raven") filling Elisabeth Shue's shoes.
Look, I think most remakes are unnecessary, and contribute heavily to the glut of movie releases. But the way fellow members of my generation have overreacted, you'd think Kevin Costner was remaking Casablanca and playing up the homoeroticism.
The way I see it, things could be much worse. At least we have a teenage actress playing a teenager. And because the producer is not named George Lucas, the original film will still exist. (Though it may soon be locked up in the Disney vault.)
Anyway, I thought this would be a good time to praise the 1987 cast. Elisabeth Shue got an Oscar nomination only 8 years later, for Leaving Las Vegas. Her character's cheating boyfriend -- who had the license plate "SO COOL," grew up to be Bradley Whitford of The West Wing. Her new love interest was George Newbern, from those Father of the Bride, ahem, remakes. Her friend stuck at the bus station was Penelope Ann Miller. And let's not forget the Thor-like mechanic who fixes her car, Vincent D'Onofrio.
Of the kids in the film, Anthony Rapp is best known now, as a cast member of Rent (the original stage production and 2005 movie). I know far less about Keith Coogan and Maia Brewton.
55 Fiction Friday reminds you that this is the second half of my 110-word story. The first half can be found here.
In the meantime, Marc was making the best of the situation. Whether athlete or actor, he’d been a second banana, watching Tim Duncan or Sarah Michelle Gellar get the attention. Even now, he was dating Lauren, but only as her alternative. On a first name basis, he was only two-thirds of who she really wanted.
What's the greatest threat to our nation? Bears, according to Stephen Colbert. After reading this story, I would agree:
A bear cub drew a crowd of spectators at a Lake Tahoe neighborhood as it munched on barbecue-chicken-and-jalapeno pizza in the back seat of a vintage red Buick convertible.
It also apparently washed it down with a swig of a Jack Daniel's mixer, some vodka and a beer taken from a cooler, the vehicle's owner said.
Nice.
See, this kind of thing would never happen in Southern Nevada. It would have to be some rare albino grizzly who'd escaped from Siegfried and Roy's Secret Garden habitat, and it wouldn't waste time outdoors when it could be getting complimentary drinks at the poker tables.
55 Fiction Friday is thinking sequel to Snakes on a Plane. Speaking of sequels, look for the second half of this 110-word story next week.Lauren awoke naturally Thursday morning. It dawned on her that no 5:30 wakeup call meant bad news. Again.
M, already up making breakfast, had printed a list of nominees. Lauren overlooked the personal snub; that her show and network remained nonexistent was the greater crime. She would funnel her anger back into her acting. Again.
My abstention of awards season continues, but as promised, I thought I would give you an idea as to how my tastes run. (To those of you who knew me before this blog, and therefore know of my listmaking compulsion: consider this an occasional indulgence. I still fight the battle one day at a time.)
Below is what I regard as the year's best in television. I'll cover music later this week, and tackle movies and books next week.
1. Prison Break, FOX. So Abruzzi gets the razor blade to the neck, but he's still alive, and being transferred to a hospital? Why didn't Scofield think of this? It would be much easier to break your brother out of there than death row. Oh well. This show is basically like early 24, but without those complicated international political undertones. And a cast of mostly unknowns (led by Wentworth Miller, who plays it cool in the liquid nitrogen sense) shows the rest of TV how it's done. Terrific and completely addictive. The perfect show, assuming it lasts no more than 2 seasons.
2. The Colbert Report, Comedy Central. How do I break the news gently? I won't: it's already better than The Daily Show. There, I said it. Sorry, Jon Stewart.
3. Everybody Hates Chris, UPN. Anyone who'd seen White Chicks -- and I recommend it -- knew that Terry Crews was fated to be in bigger and better things. And here he is, anchoring the strongest sitcom in years as Julius, the father who's both rock steady and frugal to a mathematical degree. Everything about him rings true, and he's just as essential as Chris Rock's irreverent narration.
4. House, FOX. It's a testament to Hugh Laurie's greatness that the added presence of a TV heavyweight like Sela Ward barely causes a ripple in the flow of the show. This shows thrives on what CSI won't do: get into the personal lives of the characters. Surprisingly, this makes House the best procedural on TV. And that House/Wilson relationship just gets better.
5. Grey's Anatomy, ABC. A stunning development. I had no interest when it began, mostly because Ellen Pompeo struck me as a poor man's Renee Zellweger, complete with the squinty eyes and flighty ways. Then the impossible happened this fall: the show began running plots that existed solely to crush her morale. Repeatedly. And it was good. The result: a true ensemble emerged, highlighted by Chandra Wilson's Dr. Bailey, who's used sparingly but perfectly, and Isaiah Washington's Dr. Burke, who (despite what Patrick Dempsey and his scruffy facial hair will tell you) is the real McDreamy.
6. Smallville, WB. This is kind of a Goblet of Fire season, where everything changes because it has to. We know these characters as adults, and it's so different than how we've seen them so far. These are the episodes that bridge the chasm.
7. How I Met Your Mother, CBS. Is it the second coming of Friends? No, but it's not bad either. It's somewhere in between. In a cast of five, you have three unknowns mixing in well with Alyson Hannigan and Neil Patrick Harris (both of whom play to their strengths). The vibe is so strong that you let a few of the weaker plots go. But then there's an episode like "The Pineapple Incident," which (despite the Seinfeld-esque title) reminds you how good this show can be with a strong script.
8. Gilmore Girls, WB. This show is ranked a little lower than usual for me, but that's mostly because it's currently at the breathing point of a long development that demands the viewers' utmost patience. Sort of a calm before the storm, and with a season and a half to go, the end is near. Still, they could make a show with the peerless Lauren Graham acting in front of a test pattern, and I'd still name it a personal favorite.
9. My Name is Earl, NBC. Finally, a redneck sitcom for Hindus.
10. Supernatural, WB. Is it more worthy of mention than all the other TV shows? Not sure. But it's started well, hasn't quite felt formulaic yet, and Jensen Ackles is too damn amusing to ignore.
Honorable mentions: This ad parody on SNL; any scene in Desperate Housewives with Gabrielle and Carlos; the last three minutes of the Duke-Virginia Tech men's basketball game.
Dishonorable mention: Poser Mobile. "You guys are clowns."
Because I was tending to certain duties outside my job description last weekend, namely the deep tissue scalp massaging of Eva Longoria after a pole on the Desperate Housewives set fell on her head, the following news tidbit escaped my attention: her TV costar, Marcia Cross, is engaged to be married.
This puts a small damper on the prevailing theory here at Brevity (mentioned in the comments of this post) that the actress is happily coupled with Lauren Graham. But notice that Marcia's dated her fiance for only 6 months, and neither has ever been married before. I could be wrong, but that sounds like a reverse beard situation to me.
Rock out to 55 Fiction Friday:
Upon reuniting, they decided to call themselves Phoenix. Not for geography -- most of them were from Omaha. No, they intended to rise from the ashes, like the mythical bird.
Three practice sessions later, as the drummer and bassist fell into familiar sparring patterns, it became apparent that Phoenix would again go down in flames.
The Attractive Nuisance can quote The Golden Girls, so I sure as heck can quote Gilmore Girls. (Shut up. I love that show.) This interchange is the rare moment when Luke actually demonstrates some knowledge of pop culture:KIRK: I was doing my Jon Cryer from Pretty in Pink impression.
LUKE: Duckie?
KIRK: Yes, Duckie.
LUKE: Were you near the end of the movie yet?
KIRK: No, just getting to the "Try a Little Tenderness" moment.
LUKE: You've got plenty of ammo left. Go on. Go back over there. This dialogue came to mind last night when, while flipping channels, I came across the aforementioned, apparently famous scene in Pretty in Pink where Duckie does his lip-synch performance in the record store. Maybe it was important in a seminal sense back then. John Hughes movies tended to show a character's freedom from angsty social constraints by having them get into the music; it was the only way they were truly having fun. But Duckie's performance is met with indifference from its spectators, Andie (Molly Ringwald) and Iona (Annie Potts). Back then it seemed that Duckie was enlightened, and that the ladies just didn't get it yet. What's wrong with them? Now I look at it differently: what's wrong with Duckie?
A few years ago, at the urging of my sister, we watched Pretty in Pink in its entirety. After getting over the tee-hee moments of a young James Spader, I pointed out, somewhat blasphemously, that Duckie is an early prototype of the A.D.D.-afflicted stalker. This analysis gathers support from the spot-on sendup of a hapless Duckie type in Not Another Teen Movie. Very expressive, very devoted, very wrong for the girl.
I'm sure there must be many ladies out there who remember Duckie fondly, or at least give him the benefit of the doubt. But think to your own lives, and the Duckie-types who plagued them ever so briefly. Not very pretty, was it? I rest my case.
The film doesn't really resemble its predecessor, Bruce Almighty. That movie was a mostly non-Christian take on man's relationship with God, with a protagonist (Jim Carrey) often frustrated with the world and himself. This one is a family film that derives more directly from the Bible and has a hero (Steve Carell) who's a bit of an empty vessel even before he's asked by God to build one.
