The X-Files: 3x04 (Part I) & House M.D.
Introduction
The long-awaited icon post is finally here! I shall use this time to make my sincere apologies in its various forms: 1) I apologize for taking so long with this icon post. These icon posts generally take several hours to put together, because I want them to be worth your time, and packed full of substance, entertainment, silliness, frivolity, and debauchery. Not that all of that really applies to every post, but I try my best.
2) I want to apologize for my lack of "presence" in LJ: I have been commenting sporadically, but I have been reading the mighty friends list religiously. So trust that I am reading about you, and participating in your life by nodding or exclaiming at my computer screen (that formidable nexus between your life and mine). But beyond that, I haven't really had time to do much substantial commenting. I am sorely unhappy about, and when things calm down, I wish to get reinvolved in your lives.
Other than that, I really don't have much more to say, except to say that I am still trudging along like the little engine that could up that steep mountain path that is my goals, aspirations, and inevitable academic hardships.
MOVIE REVIEWS
It has been a rather long time since my last trio of movie reviews, so I thought I should begin with a movie that haven't reviewed since last summer:
SPIDERMAN 3
I should begin by saying that I absolutely adored Spiderman 1 & 2. They are directed by my long-time buddy (not that I have ever met him), Sam Raimi, brother to the very nice and wonderful Ted Raimi, who most famously portrayed Joxer in Xena: Warrior Princess (that infamous first fandom of yours truly). The first Spiderman 1 blew me away with astounding use of roller coaster special effects, combined with the truly empathetic, lovable, and very human hero, Peter Parker. Everyone can relate to the boy hero. He blunders, he is a dork and a nerd, and he tries his damnest to do the right thing, and yet, he is a flawed, young, human being. And? Willhem Dafoe was brilliant, absolutely brilliant. And beautiful. And evil. And everything one can ever want in a superhero movie villain.
Spiderman 2 was the roller coaster multiplied by metallic-octopus-arms factor. I was ye-of-little-faith, not seeing how a movie can possibly pull off realistic-looking, flaying, murderous metallic octopus arms. I was skeptical on whether a sequel can possibly out perform and out-wow the truly magnificent Spiderman 1. My expectations were exceeded.
Which leads me to Spiderman 3. As I said, Spiderman 2 exceeded my low expectations that a sequel can possibly outdo its brilliant predecessor. So I went into Spiderman 3 thinking that history would repeat itself.
I was sorely disappointed.
Sure, the story was wonderful, and the angst I expected was definitely there. The hero who gets his lady love now is hurtled into the dark madness of a parasitic evil force that can possibly leech him of all goodness and everything heroic. But the execution of that story? Left me feeling empty, betrayed, and annoyed.
Firstly, the special effects: the eloquent dance of Spiderman leaping from building to building, gracefully twisting his body as the world screams past him, taking the audience to a roller coaster of high altitude gymnastics...was not there. It looked contrived and cheap. What happened? What happened to the special effects wonder?
Secondly, I thought the acting felt "cheap" somehow...there is something very wrong with the way things were portrayed. When Peter went to the nightclub and showed off his suave moves...I was cringing. Sure, this isn't supposed to be the wholesome, nerdy, awkward Peter, this is one infested with a dark evil force. But it just didn't work. It was superficial, ghastly, and left me feeling like Cruel Intentions.
Disclaimer: I love James Franco. He's currently studying at UCLA at my department (English), and he is supposedly smart and a great actor (I was persuaded when I saw part of Tristan and Isolde). But I just wasn't feeling him in this movie. When he "turned" and decided to help Parker against the sandman, it just didn't feel genuine. It felt too...easy. And of course, his death was just overkill. I guess it tried too hard to establish that emotional peak and collapse, but it felt to me hurried and superficial.
And of course, Kirsten Dunst is nearly always the failing point of every movie I've seen her in (the exception: Marie Antoinette, but then again, Marie was supposed to be a character that was essentially a lovely silk pillowcase). I just get angry when I see her on screen. It hurts to see her in the previous two Spiderman movies because she's the only reason why I wouldn't rate the movies as my favorite comic book movies of all time (although they rank very close to the top).
Well, that's my litany on Spiderman 3. It's still a nice, action packed thriller, and it has some very nicely done camera angles. The cleverness and full-spectrum maneuverability of Sam Raimi's directing camera gymnastics is still there. But overall, this movie was sorely disappointing to me, who had high expectations.
ACROSS THE UNIVERSE
This is one of the two movies that I have been looking forward since last year: Harry Potter & The Order of the Phoenix, and Across the Universe. Julie Taymor, the director of this movie, is a visionary. She created the Lion King musical, and her artistic "vision" has always satisfied me in a way that always gives me the feeling of seeing something greater, something beyond the tangible and worldly, and has always elevated feelings, emotions, and the typical into something otherworldly, philosophical, and ethereal.
And that is how I would describe Across the Universe. The imagery is iconic, radical, rhythmatic, and pushes the boundaries of anything I've seen. It's art noveau, it's strange, wonderful, appealing, appalling, bright, violent, restless, and relentless. To borrow a phrase from Dr. House, I can throw darts at any adjective in between any of those descriptors, and I'll always hit one that describes this movie.
If you love the Beatles, I think this movie for you. Hell, even if you don't love the Beatles, this movie is still a thrill. It re-envisions and interprets many classic Beatles songs, as well as some less popular songs, and puts it in a narrative that involves a group of friends coping with the politics and lifestyle of 1970s hippie.
This movie is really montage after visionary montage. The narrative that weaves the "stories" or visual vignettes together is not quite as cohesive as I would like. It certainly is not seamless, and the transitions can be too stark. The love story that predominates the movie lacked something, as wont as most love stories portrayed on screen. It is too idealized, and I guess something was lacking in the actors' performances, although it is hard to pinpoint what. The actors certainly did a remarkable job with this movie, and not a single one was "horrible." But I did feel that relationship between Evan Rachel Woods' character and Jude did not seem genuine. Although the portrayal of their relationship issues, including their strife and tension, felt very real, the moments of their passionate love affair felt contrived and unrealistic. However, these are my typical complaints of lovey dramas. I just don't take to them well.
But back to the artistry of the movie: the narrative is dwarfed by the brilliance and magnificence of the visual montages and vignettes. I love the colors, the focus of the film on the immense clarity and brightness of the actors' eyes. The people in this film are just so pretty in so many ways: Evan Rachel Wood is gorgeous in this film in her quiet, subdued loveliness. Jude is so beautiful in a raw yet understated way. The woman portraying Sadie is a huge presence. Her music is loud, powerful, and she exudes confidence, sexiness, and a tiger-like personality. The closeness and cohesiveness of this group of friends is envious...their pad in Greenwich appeals to the artist part of me that likes the organic and fun feeling of brightly painted, chipping wood panels, loud and dirty wood floors, and patterned spreads, faded sofas, and the look of being loved and used. Nothing is refined, everything is raw, and I think that best characterizes the look of this movie, as well as the personalities of the characters.
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
I am a fan of Brad Pitt. Sure, I'm not as much a fan of his as, say, David Duchovny, Johnny Depp, Ralph Fiennes, and Alan Rickman. But I am a fan of his nonetheless. And I think this movie is the revival of his career. I haven't seen such a good movie of his since Fight Club, Se7en, and Snatch (although, I haven't seen Babel yet).
His character is a paradox. He is a murderer, yet he is remorseful and conflicted by his actions, and his intention of doing good, being with his family, yet he has murderous and uncontrollable impulses that stuns and scares even other corrupted and amoral thieves and robbers. He carries himself well, and he is legendary, of legendary substance and character. He has a heavy presence, as if he carries the weight of his world upon his back. Brad Pitt's portrayal of him is perfect, with a certain weighty look that quickly gives way to lightning-fast changes in personality. Sometimes he has this look that would render the most amoral thief quivering with fear. Sometimes he looks like a regular, nondescript family man who plays with his children in tall waving grass.
However, even though I applaud Brad Pitt's performance, the true gem of this movie is Casey Affleck. Mind you, I've never seen Casey Affleck in action, but here he portrays a boy who worships Jesse James with a kind of teenage naivete, with a high-pitched voice that betrays any indication that he becomes a murderer who perpetuates this homicide by becoming famous for it. He is just so perfect for this role, as if it were crafted for him, and the slights in his voice, the way he fidgets and shifts his eyes away, is just perfect. Not once in this movie does he break out of character. Every single moment, every flare of his nostrils, is that of Robert Ford's.
Which brings me to the directing style of this movie. This is a very quiet Western. There is very little in way of action, gunslinging, and bravado. Instead, it is filled with a heavy quietness of foreboding, the frontier, and the hard life of living as thieves. The cinematography is absolutely gorgeous, and reminds me of the sweeping, awe-inspiring landscapes of Brokeback Mountain. However, there is no lushness in the landscape of Jesse James. It is all hard edges, brisk, sharp weather, and dull hues. It is rough, and it exemplifies the harshness of frontier life.
After this movie, I had a long discussion with my friend S. about the paradox of this movie, of mortality vs. legend, bravery and respect versus cowardliness and fame. These are issues that I found particularly interesting and complex in this movie, making this film provocative not only in imagery and narrative, but also in a literary way: that of the public versus private life, and how one becomes portrayed as legend and hero after death, as well as how one becomes rooted in history as a coward for having done, expectedly, a "good" deed. And then of course, the conundrum of Jesse James himself. To what extent did he fashion his life and the legacy he leaves after his death? I think he could be said to be the ultimate manipulator of his own situation, and that he made himself into who he was, and also somewhat hated himself for it.
A NOTE ABOUT HOUSE M.D.
I have not seen past the first episode of this season! So please don't spoil me. I did plan on watching the ensuing episodes last weekend (as well as the weekend before), but things always came up, and I didn't feel like I had to energy to expend on it. I shall watch it soon! I'm too excited, yet also too tired.
ABOUT THE ICONS
Well, needless to say, this is the much delayed batch of The X-Files: 3x04 - Clyde Bruckman's Final Repose. I made nearly 200 icons for this episode, so this is only part 1. I shall post Part 2 in the next posting, whenever that may be. Hopefully not too long from now.
Regarding the coloring: I was trying something in this batch, and I don't know whether it came across. I wanted to do very simple, very clear, and concise coloring. Nothing too bright, dramatic, or overpowering. Instead, I decided that this simple, yet elegant, story, should be portrayed as such in icon form. I felt that Clyde Bruckman was one of the characters in The X-Files who was not truly like an X-File. He was just an ordinary man who was afflicted with this fascinating gift. He did not take well to being analyzed and elevated to the status of a "phenomenon." In reality, he was just an insurance agent who saw death everywhere. There is a kind of existential loveliness to that simplicity of character.
And of course, the comedy of this episode is so classic, that I wanted to portray it in an understated way. Afterall, the extreme of the Stupendous Yappi is wonderfully juxtaposed with the quiet and nonplussed character of Clyde Bruckman, with Mulder and Scully stuck in the middle.
Also, regarding the House M.D. icons,...these are old, very very old. This is a continuation of my old icons dump. Some of these are very badly made indeed, so I wanted to get rid of them and start anew with a clean slate. I can't wait to work with new episodes of House!
Previews:
The X-Files: 3x04 - Clyde Bruckman's Final Repose
House M.D.
The X-Files: 3x04 - Clyde Bruckman's Final Repose
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House M.D. - Assorted Older Icons
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The long-awaited icon post is finally here! I shall use this time to make my sincere apologies in its various forms: 1) I apologize for taking so long with this icon post. These icon posts generally take several hours to put together, because I want them to be worth your time, and packed full of substance, entertainment, silliness, frivolity, and debauchery. Not that all of that really applies to every post, but I try my best.
2) I want to apologize for my lack of "presence" in LJ: I have been commenting sporadically, but I have been reading the mighty friends list religiously. So trust that I am reading about you, and participating in your life by nodding or exclaiming at my computer screen (that formidable nexus between your life and mine). But beyond that, I haven't really had time to do much substantial commenting. I am sorely unhappy about, and when things calm down, I wish to get reinvolved in your lives.
Other than that, I really don't have much more to say, except to say that I am still trudging along like the little engine that could up that steep mountain path that is my goals, aspirations, and inevitable academic hardships.
MOVIE REVIEWS
It has been a rather long time since my last trio of movie reviews, so I thought I should begin with a movie that haven't reviewed since last summer:
SPIDERMAN 3
I should begin by saying that I absolutely adored Spiderman 1 & 2. They are directed by my long-time buddy (not that I have ever met him), Sam Raimi, brother to the very nice and wonderful Ted Raimi, who most famously portrayed Joxer in Xena: Warrior Princess (that infamous first fandom of yours truly). The first Spiderman 1 blew me away with astounding use of roller coaster special effects, combined with the truly empathetic, lovable, and very human hero, Peter Parker. Everyone can relate to the boy hero. He blunders, he is a dork and a nerd, and he tries his damnest to do the right thing, and yet, he is a flawed, young, human being. And? Willhem Dafoe was brilliant, absolutely brilliant. And beautiful. And evil. And everything one can ever want in a superhero movie villain.
Spiderman 2 was the roller coaster multiplied by metallic-octopus-arms factor. I was ye-of-little-faith, not seeing how a movie can possibly pull off realistic-looking, flaying, murderous metallic octopus arms. I was skeptical on whether a sequel can possibly out perform and out-wow the truly magnificent Spiderman 1. My expectations were exceeded.
Which leads me to Spiderman 3. As I said, Spiderman 2 exceeded my low expectations that a sequel can possibly outdo its brilliant predecessor. So I went into Spiderman 3 thinking that history would repeat itself.
I was sorely disappointed.
Sure, the story was wonderful, and the angst I expected was definitely there. The hero who gets his lady love now is hurtled into the dark madness of a parasitic evil force that can possibly leech him of all goodness and everything heroic. But the execution of that story? Left me feeling empty, betrayed, and annoyed.
Firstly, the special effects: the eloquent dance of Spiderman leaping from building to building, gracefully twisting his body as the world screams past him, taking the audience to a roller coaster of high altitude gymnastics...was not there. It looked contrived and cheap. What happened? What happened to the special effects wonder?
Secondly, I thought the acting felt "cheap" somehow...there is something very wrong with the way things were portrayed. When Peter went to the nightclub and showed off his suave moves...I was cringing. Sure, this isn't supposed to be the wholesome, nerdy, awkward Peter, this is one infested with a dark evil force. But it just didn't work. It was superficial, ghastly, and left me feeling like Cruel Intentions.
Disclaimer: I love James Franco. He's currently studying at UCLA at my department (English), and he is supposedly smart and a great actor (I was persuaded when I saw part of Tristan and Isolde). But I just wasn't feeling him in this movie. When he "turned" and decided to help Parker against the sandman, it just didn't feel genuine. It felt too...easy. And of course, his death was just overkill. I guess it tried too hard to establish that emotional peak and collapse, but it felt to me hurried and superficial.
And of course, Kirsten Dunst is nearly always the failing point of every movie I've seen her in (the exception: Marie Antoinette, but then again, Marie was supposed to be a character that was essentially a lovely silk pillowcase). I just get angry when I see her on screen. It hurts to see her in the previous two Spiderman movies because she's the only reason why I wouldn't rate the movies as my favorite comic book movies of all time (although they rank very close to the top).
Well, that's my litany on Spiderman 3. It's still a nice, action packed thriller, and it has some very nicely done camera angles. The cleverness and full-spectrum maneuverability of Sam Raimi's directing camera gymnastics is still there. But overall, this movie was sorely disappointing to me, who had high expectations.
ACROSS THE UNIVERSE
This is one of the two movies that I have been looking forward since last year: Harry Potter & The Order of the Phoenix, and Across the Universe. Julie Taymor, the director of this movie, is a visionary. She created the Lion King musical, and her artistic "vision" has always satisfied me in a way that always gives me the feeling of seeing something greater, something beyond the tangible and worldly, and has always elevated feelings, emotions, and the typical into something otherworldly, philosophical, and ethereal.
And that is how I would describe Across the Universe. The imagery is iconic, radical, rhythmatic, and pushes the boundaries of anything I've seen. It's art noveau, it's strange, wonderful, appealing, appalling, bright, violent, restless, and relentless. To borrow a phrase from Dr. House, I can throw darts at any adjective in between any of those descriptors, and I'll always hit one that describes this movie.
If you love the Beatles, I think this movie for you. Hell, even if you don't love the Beatles, this movie is still a thrill. It re-envisions and interprets many classic Beatles songs, as well as some less popular songs, and puts it in a narrative that involves a group of friends coping with the politics and lifestyle of 1970s hippie.
This movie is really montage after visionary montage. The narrative that weaves the "stories" or visual vignettes together is not quite as cohesive as I would like. It certainly is not seamless, and the transitions can be too stark. The love story that predominates the movie lacked something, as wont as most love stories portrayed on screen. It is too idealized, and I guess something was lacking in the actors' performances, although it is hard to pinpoint what. The actors certainly did a remarkable job with this movie, and not a single one was "horrible." But I did feel that relationship between Evan Rachel Woods' character and Jude did not seem genuine. Although the portrayal of their relationship issues, including their strife and tension, felt very real, the moments of their passionate love affair felt contrived and unrealistic. However, these are my typical complaints of lovey dramas. I just don't take to them well.
But back to the artistry of the movie: the narrative is dwarfed by the brilliance and magnificence of the visual montages and vignettes. I love the colors, the focus of the film on the immense clarity and brightness of the actors' eyes. The people in this film are just so pretty in so many ways: Evan Rachel Wood is gorgeous in this film in her quiet, subdued loveliness. Jude is so beautiful in a raw yet understated way. The woman portraying Sadie is a huge presence. Her music is loud, powerful, and she exudes confidence, sexiness, and a tiger-like personality. The closeness and cohesiveness of this group of friends is envious...their pad in Greenwich appeals to the artist part of me that likes the organic and fun feeling of brightly painted, chipping wood panels, loud and dirty wood floors, and patterned spreads, faded sofas, and the look of being loved and used. Nothing is refined, everything is raw, and I think that best characterizes the look of this movie, as well as the personalities of the characters.
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
I am a fan of Brad Pitt. Sure, I'm not as much a fan of his as, say, David Duchovny, Johnny Depp, Ralph Fiennes, and Alan Rickman. But I am a fan of his nonetheless. And I think this movie is the revival of his career. I haven't seen such a good movie of his since Fight Club, Se7en, and Snatch (although, I haven't seen Babel yet).
His character is a paradox. He is a murderer, yet he is remorseful and conflicted by his actions, and his intention of doing good, being with his family, yet he has murderous and uncontrollable impulses that stuns and scares even other corrupted and amoral thieves and robbers. He carries himself well, and he is legendary, of legendary substance and character. He has a heavy presence, as if he carries the weight of his world upon his back. Brad Pitt's portrayal of him is perfect, with a certain weighty look that quickly gives way to lightning-fast changes in personality. Sometimes he has this look that would render the most amoral thief quivering with fear. Sometimes he looks like a regular, nondescript family man who plays with his children in tall waving grass.
However, even though I applaud Brad Pitt's performance, the true gem of this movie is Casey Affleck. Mind you, I've never seen Casey Affleck in action, but here he portrays a boy who worships Jesse James with a kind of teenage naivete, with a high-pitched voice that betrays any indication that he becomes a murderer who perpetuates this homicide by becoming famous for it. He is just so perfect for this role, as if it were crafted for him, and the slights in his voice, the way he fidgets and shifts his eyes away, is just perfect. Not once in this movie does he break out of character. Every single moment, every flare of his nostrils, is that of Robert Ford's.
Which brings me to the directing style of this movie. This is a very quiet Western. There is very little in way of action, gunslinging, and bravado. Instead, it is filled with a heavy quietness of foreboding, the frontier, and the hard life of living as thieves. The cinematography is absolutely gorgeous, and reminds me of the sweeping, awe-inspiring landscapes of Brokeback Mountain. However, there is no lushness in the landscape of Jesse James. It is all hard edges, brisk, sharp weather, and dull hues. It is rough, and it exemplifies the harshness of frontier life.
After this movie, I had a long discussion with my friend S. about the paradox of this movie, of mortality vs. legend, bravery and respect versus cowardliness and fame. These are issues that I found particularly interesting and complex in this movie, making this film provocative not only in imagery and narrative, but also in a literary way: that of the public versus private life, and how one becomes portrayed as legend and hero after death, as well as how one becomes rooted in history as a coward for having done, expectedly, a "good" deed. And then of course, the conundrum of Jesse James himself. To what extent did he fashion his life and the legacy he leaves after his death? I think he could be said to be the ultimate manipulator of his own situation, and that he made himself into who he was, and also somewhat hated himself for it.
A NOTE ABOUT HOUSE M.D.
I have not seen past the first episode of this season! So please don't spoil me. I did plan on watching the ensuing episodes last weekend (as well as the weekend before), but things always came up, and I didn't feel like I had to energy to expend on it. I shall watch it soon! I'm too excited, yet also too tired.
ABOUT THE ICONS
Well, needless to say, this is the much delayed batch of The X-Files: 3x04 - Clyde Bruckman's Final Repose. I made nearly 200 icons for this episode, so this is only part 1. I shall post Part 2 in the next posting, whenever that may be. Hopefully not too long from now.
Regarding the coloring: I was trying something in this batch, and I don't know whether it came across. I wanted to do very simple, very clear, and concise coloring. Nothing too bright, dramatic, or overpowering. Instead, I decided that this simple, yet elegant, story, should be portrayed as such in icon form. I felt that Clyde Bruckman was one of the characters in The X-Files who was not truly like an X-File. He was just an ordinary man who was afflicted with this fascinating gift. He did not take well to being analyzed and elevated to the status of a "phenomenon." In reality, he was just an insurance agent who saw death everywhere. There is a kind of existential loveliness to that simplicity of character.
And of course, the comedy of this episode is so classic, that I wanted to portray it in an understated way. Afterall, the extreme of the Stupendous Yappi is wonderfully juxtaposed with the quiet and nonplussed character of Clyde Bruckman, with Mulder and Scully stuck in the middle.
Also, regarding the House M.D. icons,...these are old, very very old. This is a continuation of my old icons dump. Some of these are very badly made indeed, so I wanted to get rid of them and start anew with a clean slate. I can't wait to work with new episodes of House!
Previews:
The X-Files: 3x04 - Clyde Bruckman's Final Repose
House M.D.
The X-Files: 3x04 - Clyde Bruckman's Final Repose
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House M.D. - Assorted Older Icons
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