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<item>
<title>Movie Log: State of Play (2003) / *****</title>
<link>http://www.clydeumney.net/movielog.htm#0208a</link>
<pubDate>Thursday, 9 Feb 2012 18:08:10 CST</pubDate>
<description>In the first moments of <em>State of Play</em>, 
      a riveting BBC 6-episode miniseries, a young black man is shot in the head 
      by someone who certainly gives off every impression of being a professional 
      assassin. Meanwhile, a Parliament member finds out that his research assistant 
      was found dead on the subway tracks, an apparent suicide. From these two 
      humble beginnings spawns an intricately complex and fascinating story, one 
      that's told so ridiculously well that it's all but impossible to quit watching 
      once you've started. Although <em>State of Play </em>features dozens of 
      key players, its main focus is on the reporters who are digging into this 
      story from every angle and slowly unearthing the connections that are tying 
      it all together. Make no doubt about it, the central story here is compelling, 
      and even if the rest of the series wasn't great, it would be compulsively 
      watchable. But what really makes <em>State of Play </em>so fascinating is 
      the immersion into the world of these reporters - its immersion into deadlines, 
      and sources, and scoops, and more. Of course, it doesn't hurt that you have 
      such a phenomenal cast playing the parts, with several faces who went on 
      to far bigger things over time, but all creating vivid, complex characters 
      who truly come to life over these six episodes. (Still, even with all the 
      great characters, there's no way I can't single out the always great Bill 
      Nighy for his sardonic, steely performance as the chief editor; it's also 
      not hard to see even this early in his career that James MacAvoy was destined 
      for great things.) Part political thriller, part drama, part mystery, <em>State 
      of Play</em> tells a rich, complex story, but does so while never neglecting 
      the characterization or the world-building that makes it truly feel like 
      something that could have been filmed as a documentary rather than being 
      performed. It's phenomenal television, and I'm kind of kicking myself for 
      not watching it before. (One brief and irritating postscript: I was five 
      episodes into this when I discovered that BBC America, who re-ran the series 
      when I recorded it, apparently edits their episodes drastically for length, 
      cutting as much as ten minutes from each episode, which in turn means that 
      I missed out on almost an <em>hour </em>of this series. I feel like that 
      much lost time almost demands a rewatch at some point, and it's something 
      I may have to do once I pick up the series myself. Still, I feel like I 
      saw the series enough to be enthralled; I'm more frustrated that I was cheated 
      out of almost an hour of the show with no disclaimer or note.)</description>
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<title>Book Log: Monsters of Men / *****</title>
<link>http://www.clydeumney.net/booklog.htm#0209a</link>
<pubDate>Thursday, 9 Feb 2012 17:57:03 CST</pubDate>
<description><p>[<strong>WARNING</strong>: spoilers for the 
        first two books of the series will necessarily follow.]</p>
      <p>In the end, each of the <em>Chaos Walking </em>novels has its own themes, 
        arcs, and stories, even as they all add up to one continuous tale. The 
        first novel was an exploration of the world that Ness created, but also 
        an allegory for how we function in an overwhelming amount of information, 
        and how that men can learn to control that flood for their own purposes. 
        The second was a novel about what we could find ourselves doing for a 
        cause we thought was right, and just how far we could stretch our moral 
        fibers. And book three? Book three is a novel about war, and what it does 
        to us all - but it's also a book about morality, and redemption, and politics, 
        and the way we can become so focused on winning that we neglect what may 
        be right or wrong. And it does all of this while telling a riveting, powerhouse 
        tale that left me stunned, unable to do much other than process the book 
        for a while after I finished it. Just as threatened at the end of <em>The 
        Ask and the Answer</em>, <em>Monsters of Men </em>is the tale of the war 
        between humans and the Spackle. But it's also the tale of the conflict 
        between the Mayor and the Answer, both of whom are so focused on their 
        own beliefs as to what the future should hold that they find themselves 
        unable to accept anything short of complete victory by their own terms. 
        More fascinatingly, though, Ness also adds another narrator to the novel, 
        one whose introduction adds an entirely new language, perspective, and 
        view to all of the events of the novel. It's this character whose arc 
        may be the most moving, ultimately, coming together in a climax that literally 
        made me gasp with its honesty and painfulness. I've been floored by the 
        whole <em>Chaos Walking </em>series, but even in the greatness of this 
        series, <em>Monsters of Men</em> may be the most beautiful and powerful 
        of the series. There's a beauty and a quiet hopefulness that emerges at 
        the core of the novel that's hard to shake, especially in the midst of 
        such horrors, and Ness's fusion of so many themes, ideas, strong characters, 
        and great plotting all come together to make not just one of the best 
        YA books I've read in recent memory, but one of the best <em>books</em>, 
        period. I can't recommend this series enough. Go out and immerse yourself 
        in Ness's world - it's a hard place, to be sure, but it's an incredible 
        one as well, one that may affect you more than you ever expect it to.</p></description>
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<item>
<title>Book Log: The Ask and the Answer / *****</title>
<link>http://www.clydeumney.net/booklog.htm#0206a</link>
<pubDate>Thursday, 9 Feb 2012 16:16:16 CST</pubDate>
<description><p>[<strong>WARNING</strong>: spoilers for <em>The 
        Knife of Never Letting Go </em>will necessarily follow.] </p>
      <p>By the end of <em>The Knife of Never Letting Go</em>, Todd and Viola's 
        flight had come to a stunning end as they discovered that the army from 
        which they'd been fleeing all this time had already conquered everything 
        in sight. What, then, does this new world order look like? Such is the 
        central question of <em>The Ask and the Answer</em>, which finds our heroes 
        thrust into two very diametrically opposed camps and forced to question 
        whether the ends can ever truly justify the means. Like the best sequels, 
        <em>The Ask and the Answer</em> feels less like a rehashing and more like 
        a continuation of the first book's story, all while deepening the world 
        that Ness has so vividly created. The first volume of the series was filled 
        with grayed morality, and this book only increases that depth beautifully, 
        covering some of the same ground Suzanne Collins did in <em>Mockingjay 
        </em>but doing so in starker and maybe even more unflinching terms. <em>The 
        Ask and the Answer </em>has to rank up there with the most engaging and 
        fascinating science-fiction I've read in some time, as Ness takes his 
        central conceits and follows them all the way to their logical ends, all 
        while taking the time to create fully-realized, complex characters who 
        defy easy description and moral choices that aren't as readily apparent 
        as we might wish. The end result...well, let me be honest: if you think 
        <em>The Hunger Games </em>is bleak (and it is), the <em>Chaos Walking 
        </em>series makes those books look positively radiant and cheerful in 
        comparison. But the story being told here is so riveting and fascinating, 
        the characters so involving, the world so compelling, that the question 
        of whether it's too bleak never comes up. Instead, you find yourself drawn 
        into the tale inexorably, and the only time you'll stop is when you hit 
        the end. And let me tell you: once again, you better have the next book 
        ready. Because there's no way you'll want to wait for more.</p></description>
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<item>
<title>Movie Log: Fright Night (1985) / ***</title>
<link>http://www.clydeumney.net/movielog.htm#0204b</link>
<pubDate>Sunday, 5 Feb 2012 11:40:20 CST</pubDate>
<description>There's nothing really wrong with <em>Fright 
      Night</em>. It's got a good premise (a variation on <em>Rear Window </em>where 
      a teenager becomes convinced that his neighbor is a vampire), generally 
      good, solid performances (with the actor playing &quot;Evil Ed&quot; as 
      an exception), fun ideas, and some solid creature effects. It all adds up 
      to a movie that doesn't really have much wrong with it...but at the same 
      time, it never really does anything really <em>well</em>, either. The best 
      horror films always have those immortal, unforgettable sequences or shots 
      - the elevators in <em>The Shining</em>, the shower in <em>Psycho</em>, 
      the dinner in <em>Texas Chainsaw </em>- that really get under your skin 
      and stay there, and whether they scare you or just impress you, they're 
      memorable. But <em>Fright Night </em>has none of these. The final act, which 
      is basically a giant cat-and-mouse game in the vampire's house, should give 
      us that, but there's nothing really special about it - it just feels like 
      it's going through the motions. In the end, <em>Fright Night </em>is fine, 
      but it's also entirely forgettable, and in many ways, that's the most damning 
      criticism you can ever make of a film, I'd say.</description>
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<item>
<title>Movie Log: Chronicle / **** ½</title>
<link>http://www.clydeumney.net/movielog.htm#0204a</link>
<pubDate>Sunday, 5 Feb 2012 09:59:01 CST</pubDate>
<description>Historically, January is a dumping ground for 
      movies, a place where the studio tosses out stuff they know is going to 
      flop anyways. And even in that field of dreck, Super Bowl weekend is reserved 
      for the worst of the batch. I mention all of this to say that, going in, 
      <em>Chronicle </em>seemed destined to be bad. A found footage film by a 
      first-time director dumped on Super Bowl weekend? And yet, the reviews were 
      good, the reactions strong, and my curiosity was piqued...and I'll be damned 
      if <em>Chronicle </em>didn't by and large deliver. At its core, <em>Chronicle 
      </em>is a superhero story, following three high schoolers as they share 
      an experience that leaves them with powers they never dreamed of. The film's 
      first half, charting the growth of those powers, is a blast - it channels 
      that wish fulfillment part of superpowers better than any superhero film 
      in recent memory, truly creating a sense of wonder and excitement about 
      what these boys can while never neglecting the characters, making them interesting, 
      sympathetic, and likable. And all of that is essential, because as the first 
      half gives way to the second, the characters start to realize that having 
      powers doesn't change who you are, and the film begins going to some far 
      darker places. <em>Chronicle </em>can't have had much of a budget, but it 
      does a lot with what it has, most notably in a spectacular third act that 
      evokes <em>Akira </em>in a lot of ways. But the best thing about <em>Chronicle 
      </em>is how nicely is constantly evokes that sense of wonder; while it stretches 
      the found footage concept to its breaking point (and sometimes a little 
      beyond), it uses it well, creating a mundane feel that's perfect as a juxtaposition 
      for these amazing events. <em>Chronicle </em>isn't flawless, but few movies 
      are; what it is, though, is ambitious, involving, smart, and genuinely exciting. 
      It's the kind of film that's destined to find a cult following over time, 
      and I'm thrilled for that; anything that encourages movies more like this, 
      I'm all for.</description>
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<item>
<title>Book Log: The Knife of Never Letting Go / *****</title>
<link>http://www.clydeumney.net/booklog.htm#0204a</link>
<pubDate>Sunday, 5 Feb 2012 09:36:04 CST</pubDate>
<description>Even if the only thing <em>The Knife of Never 
      Letting Go</em> had going for it was an absolutely killer premise, that 
      might be enough for it to succeed, if the premise is as intriguing as this 
      one. <em>Knife</em> opens in a small town named Prentisstown, where a war 
      has left the human population with no surviving women and the thoughts of 
      every male (regardless of species) loudly broadcasting at all times, creating 
      a cacophony called The Noise. But it doesn't take long for our hero, a teenage 
      boy less than a month from becoming a man within the society, to discover 
      that perhaps everything he thinks to be true may not be, and as he begins 
      to flee for his life, the book blossoms into a great thriller and mystery. 
      It's a great premise, and the book packs a lot of genuinely surprising shocks 
      along the way, and like I said, it would be enough to make a good book on 
      its own. But <em>Knife </em>has more going for it, most notably some compelling 
      and fascinating characters whose morality and actions make for a compelling 
      spectrum. More than that, though, they make the choices that these characters 
      face all the more dramatic and effective, be they choices of survival or 
      more complicated moral crossroads. The first volume in a trilogy, <em>Knife 
      </em>sets up a fascinating world and then tells an absolutely compelling 
      tale about it, building all the way up to a fantastic ending that left me 
      glad I had the second book already ready and waiting. If the rest of the 
      series is anywhere close to this good, this could be one of the new standards 
      for me. It may be unflinchingly bleak at points, but it's also complex, 
      imaginative, and fascinating, and more than that, it's compulsively readable. 
    </description>
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<item>
<title>Movie Log: Shame / **** ½</title>
<link>http://www.clydeumney.net/movielog.htm#0203d</link>
<pubDate>Saturday, 4 Feb 2012 10:48:12 CST</pubDate>
<description>A lot of the attention <em>Shame</em> is getting 
      is due to its NC-17 rating, and there's no way you can argue the film doesn't 
      deserve the rating; in telling the story of an emotionally damaged man who 
      compulsively engages in sexual activity without gaining much joy from it 
      all, the film necessarily depicts sexuality in a graphic and frank fashion, 
      showing the activity while stripping it of just about anything appealing 
      or erotic. But the film also argues nicely for the validity of the rating, 
      given that <em>Shame </em>is a film that addresses adult subject matter 
      in a mature, non-titillating way and does so thoughtfully and powerfully, 
      creating a conversation that's far more appropriate for adults than anyone 
      else. Much like director Steve McQueen's previous film, the incredible <em>Hunger</em>, 
      <em>Shame </em>gains a lot of power from long takes, silent faces, and letting 
      the actions and performances speak for themselves. Luckily, he's aided by 
      the go-for-broke performance by Michael Fassbender, who creates a character 
      so emotionally damaged that he's unable to form any semblance of a real 
      relationship other than a sexual meeting. Evoking pain, isolation, compulsion, 
      and rage in every scene, Fassbender's work here is amazing, and his willingness 
      to bare all not only physically but emotionally is outstanding. He's matched 
      by Carey Mulligan as his sister, who's every bit as damaged (albeit in a 
      different way) and who's asked to bare no less, and she succeeds every bit 
      as well as Fassbender - the scene where she sings a haunting, heartbreaking 
      version of &quot;New York, New York&quot; is riveting for every second of 
      its length, as her face tells you everything you need to know about her. 
      In the end, for all its focus on sexual promiscuity, <em>Shame </em>is more 
      a story about emotionally damaged people than it is about addicts, and its 
      ability to evoke the sheer pain and isolation these people are feeling makes 
      it one of the most compelling and draining cinematic experiences of the 
      year.</description>
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<item>
<title>Movie Log: The American / **** ½</title>
<link>http://www.clydeumney.net/movielog.htm#0203c</link>
<pubDate>Saturday, 4 Feb 2012 08:16:24 CST</pubDate>
<description><em>The American </em>didn't do all that well 
      at the box-office, which is no big surprise; with its nearly silent protagonist, 
      conflicts far more about internal decisions than external action, and a 
      strongly character-oriented story for a movie about a weapons designer for 
      assassins on the run after a job gone wrong, <em>The American </em>is the 
      kind of film that will probably find more appreciation among the arthouse 
      crowd than the multiplexes. But given that movies like this are right in 
      my wheelhouse, I found a lot to love here. In his review, Roger Ebert invokes 
      <em>Le Samourai</em>, and the comparison is apt; in his performance, Clooney 
      plays a man whose nearly silent demeanor leaves him to be defined by his 
      actions, giving the reader the task of attempting to crack through his thick 
      facade. The plotting is simple here, but the characters are incredibly rich 
      and well-portrayed; from the well-meaning village priest to the (absurdly 
      beautiful) prostitute who becomes Clooney's sole attachment, the cast all 
      acquits themselves beautifully. But this is Clooney's movie, and his presence 
      serves him well here, fascinating us with this enigma of a man. In many 
      ways, <em>The American </em>feels like a film that might fit in better in 
      the 1970s than today, but that's okay; given my love for films of that era 
      and quiet, hardened characters like this, <em>The American </em>is the kind 
      of movie that's all but designed for me, so it should be no surprise that 
      I liked it a hell of a lot.</description>
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<item>
<title>Movie Log: Highlander / *</title>
<link>http://www.clydeumney.net/movielog.htm#0203b</link>
<pubDate>Saturday, 4 Feb 2012 00:42:21 CST</pubDate>
<description>Many people love this movie, apparently; after 
      all, it spawned three sequels and a TV show, so someone had to love this 
      at first sight, right? Or maybe they were just thrilled by the concepts 
      of immortals in a time-spanning battle for superiority? That I can accept 
      more than the idea that someone actually <em>liked </em>this movie, which 
      has to rank right down there with the most inept and laughable things I've 
      seen in a long time. Watching <em>Highlander </em>is like a competition 
      to find the part that amuses you the most. Do you go for the self-satisfied 
      and distracting camerawork, or are you more into the barely sketched-in 
      special effects? Do you crack up for Sean Connery as a Spaniard, Clancy 
      Brown as a metalhead barbarian, or Christopher Lambert with his absolutely 
      bizarre mishmash of accents that makes him sound uncannily like Tommy Wiseau? 
      The answer, really, is &quot;all of the above and more&quot;; I haven't 
      even touched on the hilariously over-the-top supporting performances, the 
      ludicrous dialogue, the poorly staged fights, or the increasingly nonsensical 
      plotting. So, sure, <em>Highlander </em>has a cult. But that certainly doesn't 
      make it anything other than a hilariously bad piece of movie-making.</description>
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<item>
<title>Movie Log: One, Two, Three / ***</title>
<link>http://www.clydeumney.net/movielog.htm#0203a</link>
<pubDate>Saturday, 4 Feb 2012 00:24:12 CST</pubDate>
<description>It's rare for Billy Wilder to make a project 
      that's entirely worthless, and while <em>One, Two, Three </em>doesn't become 
      such a work, neither does it ever come close to measuring up to Wilder's 
      best work. With <em>One, Two, Three</em>, Wilder attempts to do a pure farce, 
      and it doesn't play to his strengths - namely, it lacks the dramatic heft 
      that gives his best work such impact and makes the comedy all the funnier. 
      The premise involves the head of a Coca-Cola plant in Berlin in the midst 
      of the Cold War, Communist plots, and capitalism run amok, all of which 
      should play to Wilder's cynical strengths. Instead he goes broad for most 
      of the jokes, and a lot of them just never really hit, even though the performers 
      are doing great. That being said, the movie pulls together nicely in the 
      final act, as all the motion and energy finally gets put to good use in 
      a blur of outfitting, painting, planning, and preparation that connects 
      quite nicely (the lack of datedness helps a lot). All in all, <em>One, Two, 
      Three </em>isn't completely without merit, but it's definitely among Wilder's 
      weaker efforts, and it's hurt pretty deeply by the passage of time, which 
      has left many of its jokes sadly out of place.</description>
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