Alright, we're gonna have a little fun, and I'm going to incite you guys to post comments!
Very soon, you'll find here the list of my top movies for 2006 - the ones I thought stood above all else, and my bottom movies for 2006: those I thought were some of the worst I've ever seen!
While I'm (not too) seriously thinking about it and catching up on what I haven't yet seen, I would love to hear what your top and bottom lists are! You don't have to justify your choices if you don't want to, although a few words (like "because it wasn't good" or "because I was high when I saw it") would be appreciated.
Woohoo, here you go!!!
Thursday, December 14, 2006
Sunday, December 10, 2006
The Fountain
I HAVE to share this. Yesterday, I saw The Fountain, by Darren Aronofsky. It's the most staggering movie I've ever seen. I'm in complete shock, and awe. And since there's no way I can describe what is so good, or why it's so good, I'll just stop here.
Tuesday, December 05, 2006
Lights of the Studio
I don't have enough time right now to say all the good I think of Aaron Sorkin and his "Studio 60 on the sunset strip". Yesterday's Christmas episode (which was also kind of an anti-Christmas episode), was funny, moving and smart at the same time. The way little things within an episode or season connect is absolutely fantastic. Yesterday was the fall finale, and it is clear that it was written in case the show got canceled. The last line "we do leave here now" would have been a perfect ending, as it reminds us of the pilot's ending itself. When a show manages to come full circle, with that much emotion, so fast, you got a winner. Thank God though, the show's been picked up for a full season. Thank you NBC execs for being smart (a little like Jack and Wilson White in this episode, and their rant against the FCC. I myself am preparing one. Stay tuned, faithful readers... reader... mom).
I will add that the fact Matt Perry and Brad Whitford have completely disappeared behind their characters is a another proof of the quality of the writing, acting, and direction (lost my rhyme, sorry).
But the best part in this episode was the last 4 minutes, with Troy "Trombone Shorty" Andrews and his band, playing "Holy Night", in a homage to New Orleans (he himself is from New Orleans). I'm no fan of Christmas music, but the arrangement and the playing was so wonderful I would go and buy the piece in a heartbeat if it was available.
You can watch the clip right here (be careful, there are some spoilers as the action continues while the band is playing).
As for Trombone Shorty, his website's right here:
http://www.tromboneshorty.com
Enjoy!
I will add that the fact Matt Perry and Brad Whitford have completely disappeared behind their characters is a another proof of the quality of the writing, acting, and direction (lost my rhyme, sorry).
But the best part in this episode was the last 4 minutes, with Troy "Trombone Shorty" Andrews and his band, playing "Holy Night", in a homage to New Orleans (he himself is from New Orleans). I'm no fan of Christmas music, but the arrangement and the playing was so wonderful I would go and buy the piece in a heartbeat if it was available.
You can watch the clip right here (be careful, there are some spoilers as the action continues while the band is playing).
As for Trombone Shorty, his website's right here:
http://www.tromboneshorty.com
Enjoy!
Wednesday, November 01, 2006
Master and pupils
You know all those controversies that rock the art world when a creator has died and someone tries to take over his work, usually for the worst?
It happened for Blake & Mortimer, and it should have happened way earlier than it did when Uderzo tried to script new adventures of Asterix, after its original writer, Rene Goscinny - one of the world's greatest genius, passed away.
Well, I'm now convinced that both Luc Besson and Georges Lucas have died, and that some cheap grad student with a 1.8 GPA took over their work. Fortunately, Besson has always said he would stop after 10 movies, and the 10th is coming up in the form of a weird animation movie, adapted from his own book, "Arthur and the Minimoys". A movie that has not only the ugliest cover design ever, but also the worst title.
As for Lucas, well, rumors say he might stop too. Let us pray it's true.
I'm really really happy, on the other hand, that Stephen King (this one, not this one) didn't deliver on his promise to stop writing.
I don't know where Master King went when he was uncounscious, following the accident that almost cost his life back in 1999, but it must have been pretty scary if we are to believe the visions he shared with us in "Dreamcatcher" and "On Writing".
Once back from the dead, his work definitely took a new turn, often diving into the depth of the human mind, wondering there like it's a personal, physical cave, not unlike what Thomas Harris did in Hannibal, and the metaphor that the batcave has always stood for.
From what the awesome reviews he's already received promise, it looks like his new novel, Lisey's Story, deals with the same trips of the mind one takes when working his imagination. I can't wait to read this one, and if you know anything about great fiction, so should you.
By the way, if you still think Stephen King is only about blood and gore, please know that if he is the master of horror, it's only the horror he creates in the mind of people who haven't read his books. Because most of his work is just pure, fantastic american fiction, usually touching and surprising, and deeply intelligent.
As a reminder, you can check out this video I took of him reading in August, at Radio City Music Hall.
And don't forget to check out his bi-monthly column for Entertainment Weekly, which is an inspiration for this blog.
Here's to reading you, Master King.
It happened for Blake & Mortimer, and it should have happened way earlier than it did when Uderzo tried to script new adventures of Asterix, after its original writer, Rene Goscinny - one of the world's greatest genius, passed away.
Well, I'm now convinced that both Luc Besson and Georges Lucas have died, and that some cheap grad student with a 1.8 GPA took over their work. Fortunately, Besson has always said he would stop after 10 movies, and the 10th is coming up in the form of a weird animation movie, adapted from his own book, "Arthur and the Minimoys". A movie that has not only the ugliest cover design ever, but also the worst title.
As for Lucas, well, rumors say he might stop too. Let us pray it's true.
I'm really really happy, on the other hand, that Stephen King (this one, not this one) didn't deliver on his promise to stop writing.
I don't know where Master King went when he was uncounscious, following the accident that almost cost his life back in 1999, but it must have been pretty scary if we are to believe the visions he shared with us in "Dreamcatcher" and "On Writing".
Once back from the dead, his work definitely took a new turn, often diving into the depth of the human mind, wondering there like it's a personal, physical cave, not unlike what Thomas Harris did in Hannibal, and the metaphor that the batcave has always stood for.
From what the awesome reviews he's already received promise, it looks like his new novel, Lisey's Story, deals with the same trips of the mind one takes when working his imagination. I can't wait to read this one, and if you know anything about great fiction, so should you.
By the way, if you still think Stephen King is only about blood and gore, please know that if he is the master of horror, it's only the horror he creates in the mind of people who haven't read his books. Because most of his work is just pure, fantastic american fiction, usually touching and surprising, and deeply intelligent.
As a reminder, you can check out this video I took of him reading in August, at Radio City Music Hall.
And don't forget to check out his bi-monthly column for Entertainment Weekly, which is an inspiration for this blog.
Here's to reading you, Master King.
Tuesday, October 17, 2006
The influence of pop culture on our daily lives
Exerpt from an online conversation between my friend Baril and myself*:
Baril (2:14): lol
Baril (2:15): Shit I wanted to type "lol" and I typed "lost" instead
Benjh (2:15): lost
Baril (2:15): lol
By the way, you can read the amazing "blug", by Baril, by clicking right here!
* The following has been translated from the french for your reading convenience.
Baril (2:14): lol
Baril (2:15): Shit I wanted to type "lol" and I typed "lost" instead
Benjh (2:15): lost
Baril (2:15): lol
By the way, you can read the amazing "blug", by Baril, by clicking right here!
* The following has been translated from the french for your reading convenience.
Thursday, October 12, 2006
Lost goes local
SPOILER ALERT: Do not read this if you haven't watched the second episode of the third season of Lost.
Hi, I'm Ben, the other one, the not-other.
Confused? Read on...
GENERAL IMPRESSION
Let me say right off the bat: The beginning of this new season of Lost is absolutely fantastic. Not only do we learn a lot about the others, the episodes are also masterfully written and directed. I feel like the overall "quality" of the show has improved.
Talking about "direction", we have a lot less handheld camera shots, and a lot more creativeness (the aerial shot of Othersville, and this opening shot of the ballerina falling down - which was stunning). It seems obvious to me there's a lot more money going into the making of every episode, as it should considering the ratings...
THE RED SOX STORY
I'd like to talk some more about the ending to this second episode, because it combined so many good elements.
One: Jack (and ourselves) realizes the others have access to the outside world. To see a baseball game play in the world of Lost was just staggering!
Two: the acting was just amazing, with Michael Emerson bringing to Ben (Henry's real name) an edginess and crazyness that are compelling. And Matthew Fox is always perfect.
Three: the producers managed to include in the story a historic event we all remember, and that absolutely defines this time of Fall 2004: the Boston Red Sox victory at the world series. Not only was it funny, but it also places the series in our world, with references we all know (that also includes Bush re-election).
In a time where most series take place in an other reality (in 24 or Prison Break, the presidents have different names etc.), Lost, maybe the most "fantastic" of real series, decided to tell us: this happening somewhere in YOUR world. And it's great.
The only complaint I have has to do with the Red Sox. I said we all remember their victory, but actually, it's every American (and possibly Canadian) who remembers. To the rest of the world, the world of Baseball, not to mention the Red Sox's curses of the Bambino, is totally unknown.
When I watch american TV, I always wonder how an international audience will appreciate it. Until now, one of Lost's strength was how international, how not American it was: with its Iraqi, British and Australian characters. With its south-pacific location.
For sure, this episode will be greatly appreciated all over the world, for its quality, but the whole exchange between Jack and Ben about the red sox will go totally undercover.
If Jack ever has the chance to share this with Charlie, expect him to answer: "The Boston who have won what?".
THE OTHERS
Finally, here's my theory about the others. Scratch that, here's the truth about the other! It looks crystal clear to me.
There are two questions: "where do they come from?" and "what do they want?".
Honestly, where they come from has no importance. I expect it to be revealed sometime this season. Another crash, Dharma people or subject revolting, whatever.
What's really interesting is "what do they want?". Well, like Ben said, I'm convinced they're good guys. They choose to live on this island for reasons that are their own and are extremely happy about how perfect and suburban their life is (in a kind of Shyamalan's The Village -like scenario).
When the plane crashed, Ben immediately realized that adding 40 people to their little thing would screw everything up, so he decided they should be integrated over time. And so the whole thing is a process to integrate, few by few, our heroes into their world. - starting with Jack, Sawyer and Kate. They never kill unless their own life is in danger (and never asked Michael to kill anyone), and even captured all kids early so they don't have to go through the hardships of survival. I'm sure they're somewhere in Othersville, happy and being cared for. They even tried to make sure Claire would deliver her baby in all safety! Seriously, this is so obvious, you're all really dumb!
Why else would they let Walt (and its special powers) go, realizing he'd be happier with his dad? Of course, not everything went according to plan (Rousseau's daughter and her teen angst, Ethan going crazy), and not everything will (Jack is too stuborn - Juliette and others are obviously not that happy about Ben's leadership). But this is why we watch.
LAST NOTE:
We know now the show is not in-temporal. It take place (or at least starts) in 2004. For now, it's not a big deal. Let's just hope it will be the same 5 years from now, if the show is still running. Imagine them hearing about Katrina for the first time in a 2011 episode!
Anyone else noticed all big important characters have extremely simple names?
Jack, Kate, John, James (sawyer's real name), Micheal and now Ben. Wonder where this is going...
The other Ben, the not-other, out!
Hi, I'm Ben, the other one, the not-other.
Confused? Read on...
GENERAL IMPRESSION
Let me say right off the bat: The beginning of this new season of Lost is absolutely fantastic. Not only do we learn a lot about the others, the episodes are also masterfully written and directed. I feel like the overall "quality" of the show has improved.
Talking about "direction", we have a lot less handheld camera shots, and a lot more creativeness (the aerial shot of Othersville, and this opening shot of the ballerina falling down - which was stunning). It seems obvious to me there's a lot more money going into the making of every episode, as it should considering the ratings...
THE RED SOX STORY
I'd like to talk some more about the ending to this second episode, because it combined so many good elements.
One: Jack (and ourselves) realizes the others have access to the outside world. To see a baseball game play in the world of Lost was just staggering!
Two: the acting was just amazing, with Michael Emerson bringing to Ben (Henry's real name) an edginess and crazyness that are compelling. And Matthew Fox is always perfect.
Three: the producers managed to include in the story a historic event we all remember, and that absolutely defines this time of Fall 2004: the Boston Red Sox victory at the world series. Not only was it funny, but it also places the series in our world, with references we all know (that also includes Bush re-election).
In a time where most series take place in an other reality (in 24 or Prison Break, the presidents have different names etc.), Lost, maybe the most "fantastic" of real series, decided to tell us: this happening somewhere in YOUR world. And it's great.
The only complaint I have has to do with the Red Sox. I said we all remember their victory, but actually, it's every American (and possibly Canadian) who remembers. To the rest of the world, the world of Baseball, not to mention the Red Sox's curses of the Bambino, is totally unknown.
When I watch american TV, I always wonder how an international audience will appreciate it. Until now, one of Lost's strength was how international, how not American it was: with its Iraqi, British and Australian characters. With its south-pacific location.
For sure, this episode will be greatly appreciated all over the world, for its quality, but the whole exchange between Jack and Ben about the red sox will go totally undercover.
If Jack ever has the chance to share this with Charlie, expect him to answer: "The Boston who have won what?".
THE OTHERS
Finally, here's my theory about the others. Scratch that, here's the truth about the other! It looks crystal clear to me.
There are two questions: "where do they come from?" and "what do they want?".
Honestly, where they come from has no importance. I expect it to be revealed sometime this season. Another crash, Dharma people or subject revolting, whatever.
What's really interesting is "what do they want?". Well, like Ben said, I'm convinced they're good guys. They choose to live on this island for reasons that are their own and are extremely happy about how perfect and suburban their life is (in a kind of Shyamalan's The Village -like scenario).
When the plane crashed, Ben immediately realized that adding 40 people to their little thing would screw everything up, so he decided they should be integrated over time. And so the whole thing is a process to integrate, few by few, our heroes into their world. - starting with Jack, Sawyer and Kate. They never kill unless their own life is in danger (and never asked Michael to kill anyone), and even captured all kids early so they don't have to go through the hardships of survival. I'm sure they're somewhere in Othersville, happy and being cared for. They even tried to make sure Claire would deliver her baby in all safety! Seriously, this is so obvious, you're all really dumb!
Why else would they let Walt (and its special powers) go, realizing he'd be happier with his dad? Of course, not everything went according to plan (Rousseau's daughter and her teen angst, Ethan going crazy), and not everything will (Jack is too stuborn - Juliette and others are obviously not that happy about Ben's leadership). But this is why we watch.
LAST NOTE:
We know now the show is not in-temporal. It take place (or at least starts) in 2004. For now, it's not a big deal. Let's just hope it will be the same 5 years from now, if the show is still running. Imagine them hearing about Katrina for the first time in a 2011 episode!
Anyone else noticed all big important characters have extremely simple names?
Jack, Kate, John, James (sawyer's real name), Micheal and now Ben. Wonder where this is going...
The other Ben, the not-other, out!
Tuesday, October 03, 2006
New Shows - Follow up
Let's start today with a few new shows I hadn't had time to blog about last time.
First and foremost:
Heroes (Monday, NBC, 9PM).
Let's get this straight: this new show can be awesome. The pilot WAS awesome.
For those of you who haven't watched, the concept is the same as X-men. Due to some genetic crap, some people find themselves with super powers. A blond and busty cheerleader can't be harmed. A cop (Greg Greenberg, from Alias) hears voices. A young New Yorker can fly. But the best character is Hiro, a young japanese worker who can stop time and teletransport anywhere he wants.
What's great about this show is that most of these "Heroes" are loosers, people who wouldn't accomplish great things in normal circomstances. It's also absolutely hilarious, and ethnicaly incredibly diverse. The plot, or what I understand of it after two episodes, seems good enough, with a drug-addict painter whose work describes the future, and everyone gathering in NY. It's a little like "The stand", by Stephen King, with the artist in place of the old woman, and a pre-disaster world instead of a post-one.
In any case, a show super original with its form, and the way it treats content, if not in the basic idea. Personally, I'm hooked!
Grade: 9/10
Ugly Betty(CBS, Thursday, 8PM):
America Ferrara stars in this adaptation from a mexican Telenovela, about a young and ugly girl trying to make it in the fashion industry. Kind of "the devil wears prada" as a TV-Series, except it's hard to picture a pretty Betty Suarez, when Anne Attaway was so obviously gorgeous since the beggining.
The series is very well written, smart and witty in its description of the fashion world (which I know nothing about), and the characters are lovable enough.
It's very well directed, which can not be said of most of the new series. No stupid VO is already a change. But it's in its very realistic depiction of the Queens family, and of an ordinary girl's struggle, that the show excels.
It builds a plot around its character, instead of doing the opposite (Grey's Anatomy comes to mind). It asks: "what's a poor girl from Queen's problems, and how can we work around it?" Instead of: "What episode could we write so that we can end with a Coldplay or James Blunt song?"
Let's wait a little for a final appreciation, but for now, 8/10
FOLLOW UP:
Jericho seems to be on the dreaded Roswell slope. In each of the two episodes so far, they managed to build some stupid life-or-death situation drama that has nothing to do with the story. It reminded me of poor Kim BauerIf you can't manage an hour show during the first season with the character you already have, you're as good as canceled.
Give it another few months, then poof! Gone.
On the other hand, Studio 60 is on its way up. The ratings are fantastic, and so is the show. I'm amazed at how good are Matthew Perry and Brad Whhhithhhford, far from Chandler and Josh. The writing is great, of course, the world it takes place in very well defined. After only 3 episodes, I know and remember the names of maybe 10 characters, and that's a sure sign. How long can they keep it up is my only worry. Exciting! Looks like Aaron Spelling can't fail!
I stoped watching 6 degrees, Justice and Smith. I expect I'm not the only one.
Men in Trees keep being what it promised. A simple, not pretentious show. I'm not hooked - but then, I don't think I'm in the demographic target audience. Nice to put in the background while I work on something else.
Finally, The Class, is not as good as it promised. As I feared, too many easy jokes, not enough built-up situation comedy. A few genial moments, but a few (very) low-downs. The story line where ? (see, I haven't got their names here) is presenting the weather forecast was as lame as it gets. Like Jericho, if they need a feeler that early, it's no good sign. The difference is that the sitcom genre is dying, so quality doesn't matter any more. Expect it to stay, expect me to be watching something else.
That's it for now.
Friday Night Lights premieres tonight, and I can't wait! Stay tune for more!
First and foremost:
Heroes (Monday, NBC, 9PM).
Let's get this straight: this new show can be awesome. The pilot WAS awesome.
For those of you who haven't watched, the concept is the same as X-men. Due to some genetic crap, some people find themselves with super powers. A blond and busty cheerleader can't be harmed. A cop (Greg Greenberg, from Alias) hears voices. A young New Yorker can fly. But the best character is Hiro, a young japanese worker who can stop time and teletransport anywhere he wants.
What's great about this show is that most of these "Heroes" are loosers, people who wouldn't accomplish great things in normal circomstances. It's also absolutely hilarious, and ethnicaly incredibly diverse. The plot, or what I understand of it after two episodes, seems good enough, with a drug-addict painter whose work describes the future, and everyone gathering in NY. It's a little like "The stand", by Stephen King, with the artist in place of the old woman, and a pre-disaster world instead of a post-one.
In any case, a show super original with its form, and the way it treats content, if not in the basic idea. Personally, I'm hooked!
Grade: 9/10
Ugly Betty(CBS, Thursday, 8PM):
America Ferrara stars in this adaptation from a mexican Telenovela, about a young and ugly girl trying to make it in the fashion industry. Kind of "the devil wears prada" as a TV-Series, except it's hard to picture a pretty Betty Suarez, when Anne Attaway was so obviously gorgeous since the beggining.
The series is very well written, smart and witty in its description of the fashion world (which I know nothing about), and the characters are lovable enough.
It's very well directed, which can not be said of most of the new series. No stupid VO is already a change. But it's in its very realistic depiction of the Queens family, and of an ordinary girl's struggle, that the show excels.
It builds a plot around its character, instead of doing the opposite (Grey's Anatomy comes to mind). It asks: "what's a poor girl from Queen's problems, and how can we work around it?" Instead of: "What episode could we write so that we can end with a Coldplay or James Blunt song?"
Let's wait a little for a final appreciation, but for now, 8/10
FOLLOW UP:
Jericho seems to be on the dreaded Roswell slope. In each of the two episodes so far, they managed to build some stupid life-or-death situation drama that has nothing to do with the story. It reminded me of poor Kim BauerIf you can't manage an hour show during the first season with the character you already have, you're as good as canceled.
Give it another few months, then poof! Gone.
On the other hand, Studio 60 is on its way up. The ratings are fantastic, and so is the show. I'm amazed at how good are Matthew Perry and Brad Whhhithhhford, far from Chandler and Josh. The writing is great, of course, the world it takes place in very well defined. After only 3 episodes, I know and remember the names of maybe 10 characters, and that's a sure sign. How long can they keep it up is my only worry. Exciting! Looks like Aaron Spelling can't fail!
I stoped watching 6 degrees, Justice and Smith. I expect I'm not the only one.
Men in Trees keep being what it promised. A simple, not pretentious show. I'm not hooked - but then, I don't think I'm in the demographic target audience. Nice to put in the background while I work on something else.
Finally, The Class, is not as good as it promised. As I feared, too many easy jokes, not enough built-up situation comedy. A few genial moments, but a few (very) low-downs. The story line where ? (see, I haven't got their names here) is presenting the weather forecast was as lame as it gets. Like Jericho, if they need a feeler that early, it's no good sign. The difference is that the sitcom genre is dying, so quality doesn't matter any more. Expect it to stay, expect me to be watching something else.
That's it for now.
Friday Night Lights premieres tonight, and I can't wait! Stay tune for more!
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