Men Who Stare At Goats – Theatrical Review

“Men Who Stare At Goats” is another example of a neat script finding its way into George Clooney’s hands that might not have been made otherwise. Again, using the very modern backdrop of the Middle East, the plot takes advantage of a very interesting piece of information in regards to psy-ops programs back in the 70s into the 80s. In declassified papers, the Soviets were indeed trying to work on remote viewing experiments intended to explode or turn military targets inside a war zone without actually going there. Now the question as to if anything or any situation of this was successful is indeed purely speculation.

The movie, based upon the book of the same name, continues a predilection by Clooney for interesting material but he and his team realize that you can only take the audience so far. The humor in this film is meant as a balancing stick since there is dark places to go. However, in all fairness, it never goes to the dark depths it needs to. The effectiveness is grasped simply in how much of a paradox can be created in the scenario. Jeff Bridges, although good, at times overplays it. It is more towards the end when he is almost defeated that the deep voice and true angle comes out and by extension the true dramatic acting that he is always capable of. This is when he is outstanding. Clooney also has certain moments when the veneer of the star himself is shaked clean (which is a hard thing for someone in his position). One specific part is when he comes out onto a secret base defeated and is not quite sure how to handle the situation. You can see it in his eyes.

The person who gets the thankless element in all this is Ewan McGregor who must portray the audience’s eyes and ears as a man trying to find a story (which he inevitably does). There is also the incessant references to the soldiers of remote viewing as “Jedi Warriors” which undoubtedly reflects the impact of George Lucas’ “Star Wars” at the time; the paradox being that McGregor played Obi-Wan Kenobi in the prequels. This of course does not go lost on the likes of Clooney and his co-producer/director Grant Heslov, here making his first directorial outing since that might have been what led them to McGregor initially. Life imitates art in roundabout ways. Add to the mix, in a limited supporting role, Kevin Spacey who at times shows a small glimpse of Keyser Soze, most specifically in a scene where he leers over a defeated Clooney smoking a cigar. You can see the relish the character takes in this action which is apparent when the trajectory of his character is explored. This is the kind of person Spacey is great at playing because even his angle of Lex Luthor didn’t show a glimpse of what is touched on in bits here. On top of all of this, the music is great whether it be “More Than A Feeling” by Boston or “Everybody Wants You” by Billy Squier in balance with an Arabian tinged score. This all adds a tinge of realism but also of the surreal.

From an insider perspective, the film also very spryly shows the advantages of shooting in certain locations which emulate exactly the feel of the actual place while obviously saving money on actual production costs which is the name of the game today. This film was shot in New Mexico around Albuerquerque, Roswell and White Sands but also Puerto Rico (which most likely stood in for some of the war torn towns). Both of these places offer significant incentives which shows that even bigger financial companies do have to think about the bottom line even with a cast like this. It makes it possible.

“Men Who Stare At Goats” again shows the intelligence and conscious thinking in terms of thought patterns to new generations of filmgoers but like “The Informant”, “Men Who Stare At Goats” might suffer from an aspect of being too intelligent and effective for its own good at times despite a smart script and even smarter cast. Out of 5, I give it a 3.

First Look: MICMACS – Sony Pictures Classics

Sony Pictures Classics just provided IR with this new still from “Micmacs”, the new film from director Jean-Pierre Jeunet (“Amelie”), coming to the US in 2010.

Taste Of Sante Fe – Shangri-La Hotel – Santa Monica, CA – Feature

The spice of Santa Fe can be reflected in its intensity of will but also the laid back intention of its people. The dichotomy of different arts, their inspiration and their relevance to Southern California and its lifestyle reflects more similarities than one would know.

Of course one of the major representations in terms of business seen is the aspect of the intense film incentives that make themselves known in earnest. The inventiveness of this collaboration was brought about in two announcements which themselves speak in earnest to the possibilities.

With New Mexico now only third in film and tv production behind New York and Los Angeles with an exceptional incentive, shooting and training package for established and would-be filmmakers as well as a plethora of recent successes to show its foothold, the ability for expansion is great.

Buoyed by an exceptional team across the board, Governor Bill Richardson, former Presidential candidate and advocate of business, spoke candidly and with significant humor about the possibilities of New Mexico. He himself was born and grew up in Pasadena so he knows the lure of the entertainment industry. He described New Mexico as “toxically beautiful” then realized his faux pas with a smile saying “I’m a politician. What do you want?”

In all seriousness the pervasiveness of what Richardson has contributed with his compatriots in Sante Fe is showing its progress in droves. Talking to Jon Hendry, who is a business agent for the local IATSE 480 in Santa Fe, the insistence of this is clear. Ground was just broken a few weeks ago on Santa Fe Studios, a new complex in city limits, and while not as big as ABQ Studios, it shows its significance with an intent of green and black screen ability as well as exceptional production support.

Secondly Robert Redford, looking to expand his Sundance influence, is establishing Sundance in New Mexico which will provide workshops for Hispanic and Native American filmmakers at Los Luceros Ranch as he himself is building a house north of the area as well. Add to this a direct flight initiated with the state’s intent through American Airlines in terms of a daily non-stop from Los Angeles to Santa Fe and the stage is set.

Now, Santa Fe is not just about the movie industry, although that is a major influence. Other elements purvey in the local and national consciousness. One of the exceptional performances at the event was an unlikely one in the guise of the Juan Siddi Flamenco Theater Company which performs during summer. Having seen many inflections of Flamenco across the nation, this iteration which encapsulates the element of sexual tension whether it be male/female or female/female dances adheres more to the Madrid version of flamenco which, in of itself, is true. The performers and the live music that accompanied them had a vivacity that was infectious and wowed the crowd.

In terms of tastes, the Santa Fe School of Cooking hosted a short series of culinary demonstrations, the most prevalent being the influx and ability of corn and green chiles within the realm of local food. The initiation of the pasole, while with a little bit of spice, enhanced by cilantro and green chiles went down smoothly while a brisk yet filling corn ceviche gave a sense of lightness while not being overbearing.

As the sun set, the influx of the Chateau Chinai, tart and dark, mixing Sanbroso, Chateau Monet, apple and pineapple juice, mellowed with the smoothness looking to the dessert in the East.

Santa Fe is close and moving ever closer.

The Flavor Of Ireland – TI Irish Supper – The Regency Club LA – Feature

The aspect of the lure of Ireland always begins with the people. Intrinsically, the essence of the potential draws from that and evolves into many different areas. The one purveying aspect that parlayed itself through the entire island is an innate sense of warmth.

Traveling to Ireland two years ago for a walking tour of the islands off its west coast provided an ample opportunity to experience this first hand which came in a variety of instances. The first and most exceptional was in the aspect of our host Brian who both ran the castle we stayed at in Connemara but also accompanied us on our travels, always ready with a good pint, and even had salmon and wine readily available on our first fjord walking adventure with a smile in hand.

Another compatriot was a local from Dublin who was with his wife on the trip. Nicknamed “Captain Fantastic”, he found the concept of a Guinness shot quite interesting as we found at many a community center. But by far the dip after an exceptionally long hike in the green waters off Inish Boffin rests in the mind with a degree of accomplishment.

That is why now attending Tourism Ireland’s Irish Supper Event at The Regency Club in Westwood, CA, there was a sense of that home which permeates through the new initiative which is as true and as hearty as its people: The Flavor Of Scotland.

Starting off with a small pre-function cocktail party overlooking the lights of the city, cheese and bread from Gleeson’s just outside Dublin gives a taste of down home freshness with a dollop of true Irish butter sweet to the taste. Sitting and sipping a quiet goblet of Guinness, the aspect of the food of Ireland was brought to bear with an uncanny enthusiasm suffused in earnest by Mrs. Mary Gleeson who spoke of the wonderful patronage and thanks at being chosen to represent Ireland at this gathering.

As the celebration moved into the main room overlooking Wilshire Blvd, the lyrical elements of traditional Irish folk music which had graced my ears back outside Shannon became clarity incarnate.

Before engaging in supper, a discussion with the handler of Kerry Records spoke of the different Irish Theater she is able to bring to Southern California in a calvacade of different productions throught the Southland.

From this progression, the delicacies swooned favorably first as a hearty fish envisioned soup sweltered in cream accompanied by thin slices of salmon ensconsced in slight cream cheese with sliced onions and blistering capers that perfectly balanced a slice of blueberry bread that was simply delicious when combined across the board.

The main entree enjoyed with the prevalance of a Guinness was a thick Irish Stew replete with heavy meat stock followed by the visceral vehemence of blood pudding.

As the dinner came to a close, the essence of the after dinner drink, coffee and cakes were made prevalent. The local representations of government from Ireland showed the inherent culture of people to land as national yet personal ditties set about a sense of belonging. The singing of “Danny Boy” drew an intense reverance and a low hum dazzled across the room.

The leaders of yet led a community song of “The Fields Of Athenry” with genuine intent and love while the woman continued the predilection with great harmonies with “Handsome Johnny” and “Molly Malone” whose influence with reflected in the eyes of the beholder as the last sip spilled forth.

The Flavor Of Ireland rests both in the hearts and minds of its people. The essence of the food becomes an extensions of lives led and the heartiness of the feelings embodied. The spirit of Ireland reigns forth.

Returning Television – Animation – Fall 2009 – TV Review

The animation progression shows a differentiation of matter in terms that the emotional investment predicated in their narratives show a diversification that balances both humor and effectiveness.

Star Wars: The Clone Wars The second season preliminaries show the paradox we want to see heightened which is the relationship between Padme and Anakin and the splitting of duty versus emotion. This is where the darkest elements come into play. Ahsoka, Anakin’s Padewan, is coming into her own but showing more signs of recklessness which is what is inherent in Anakin’s teachings. The key is to show Anakin’s furthering differential with the needs of the Jedi Council as the holes in their defense become bigger and bigger. The most outstanding technical advance is how good the immenseness of the passing star freighters look. The hardest thing is to create that sense of depth in a heightened comic book style. It gives a sense of intensity that heightens last season’s capabilities.

South Park The series is great simply and, in many ways, because of its quick turnaround which can sometimes be less than a week. What is becoming more apparent is within its interesting human subtext. While the first couple episodes attack essences such as wrestling, it is one of the first ones about ghosts which turns into the angle of Michael Jackson not being at peace that is the most interesting, but not for the gloved one. There is a moment at the beginning when Ike, Stan’s little brother, is seeing ghosts. Now granted it is Billy Ray coming after him but the general fear and emotion that Ike is played with is almost heartbreaking. It is interesting thinking this about “South Park” but these moments are becoming more prevalent and are what balance it out and interestingly give it more depth than the other animated programs. Think about “I’m So Lonely” from “Team America”. Here is Kim Jong Il, a quite despicable person whom the guys make almost sympathetic. Of course bodily functions and sex jokes come back almost immediately but the poignancy, ironically, is there.

Family Guy With two integrated sequences in the first two episodes, “Family Guy” still reigns as the king of cool despite the fact that many young viewers might not get it. From the premiere with its extended ode to Disney 2D animation to some snarky side comments to the “Superfriends” Opening Credits sequence around Episode 3, the intent is simply inspired for those who grew up with it in the early 80s. The personification of the characters simply is in full stride since they don’t have to prove anything anymore as long as the pop culture references are sweet. Some social commentary however fleeting doesn’t hurt either.

The Simpsons The pendulum of the “Family Guy” competition resonates here simply because of the difference in the age of the creators of the shows which is being more obviously personified as both productions go on (and will inevitably be compared). “The Simpsons” head team is slightly older so their references are more old school. A good example is in the Halloween episode which pays its tributes to Hitchcock and the New Wave filmmakers while McFarlane is all about Spielberg, Lucas and the like. Not to say that some of The Simpsons’ inklings aren’t inspired. However there is a growing differential. The ode to Salvador Dali in the Halloween episode shows the production’s ability to still slice but an earlier episode with Homer becoming the Everyman Hollywood superhero comes off a little flat.

The Penguins Of Madagascar The key here which is continually interesting is the evolution of what kids are able to process. While this is a Nickelodeon cartoon, some of the elements it angles into are definitely bordering within the realm of adult. One episode has the Penguins trying to teach Roger the alligator to become more aggressive. In doing so they end up switching out his brain for Rico (the Penguin Braun). This causes the pathological elements of the unstable penguin to wreak havoc on the regular streets on NY like something out of a horror movie. Another episode has a female gopher who had never been out of the zoo (she was born in captivity) going insane when she sees the space around her. The angles show a form of psychosis which is great when you can have the cartoons function on separate levels because kids a lot of the time will just go for the surface but subconsciously get the messages that are there. Of course, then you have the aspect when the King Lemur looses his ability to bootie shake because some African monkeys put a vex on him when his ego gets out of control. The balance is maintained but it is interesting to see how the creators of the filmmakers continue to challenge the small screen.

Animation continues to build in earnest in consideration of the different cross-sections of what is being produced but the superstructured is becoming more interesting because of the different outlets. “Clone Wars” is on a different level because it is independently produced. “South Park” continues to excel because of its ability to do a quick turnaround. However, it is the emotional resonance of some scenes that is starting to shine through. “Family Guy” and “The Simpsons” are like Jay and Conan: compatriots vying for the same audience while still on the same network. “Penguins” meanwhile flies under the radar and goes on its merry way.

The competition continues.