The Dallas Mavericks Are The New NBA Champions!


As everyone has either seen or heard by now, the Dallas Mavericks won their first ever championship title last night when they easily defeated the Miami Heat in Game 6 of the NBA finals. 

People are not only excited that the Mavericks won but they’re also excited by how they won.  They came into the finals with everyone predicting that the Heat would easily defeat them.  They came in as underdogs.  But they never let that keep them from giving a 110% and, unlike the Heat, they never stopped playing with five minutes left in the quarter.  The Heat thought they could buy a championship.  The Mavs proved that you have to be willing to play for it.  LeBron James might be bringing home the big bucks but the Mavericks brought home the championship.

Congratulations to the Dallas Mavericks, the new NBA champions! 

Don’t Mess With Texas, Texters!


Okay, quick warning: If you’re from Vermont, this post might upset your sensitive, crunchy gronola soul.  So, I’m warning you now so you don’t have to waste your time getting all offended, spitting up your maple syrup all over your framed, autographed picture of Howard Dean, and leaving angry comments about the death penalty and Jerry Jones. 

Anyway, I may have mentioned here that the American public is in desperate need of education when it comes to proper movie-going etiquette.  Whether its people texting and talking during the movie (which, by the way, starts the minute the first trailer starts to play out on-screen), bringing their annoying, shrill-voiced little children to movies that clearly are not appropriate for them, hanging their smelly, ugly feet over the seat (and audience member) in front of them, or showing up late for a movie and loudly going, “Where do you want to sit?”, the American public seriously needs to learn how to go to the movies.

And, on the basis of this PSA, the Alamo Drafthouse in Austin, Texas is exactly where those lessons need to be taught.

Amen!

Taking Back June 6th


(Special thanks to my sister, Lisa Marie Bowman, who provided me with invaluable help in putting this post together.)

June 6th, 2011 is the 67th anniversary of D-Day but, if you’ve watched the nightly news, you might not know that.  According to them, the only important thing about June 6th is that it’s the day a congressman admitted that he’s been using twitter and Facebook to send out pictures of his junk. 

However, 67 years before Rep. Anthony Weiner admitted what everyone already knew, brave men from across the world bravely sacrificed their lives to defeat the greatest evil the world had ever known.  June 6th is about honoring their memory and sorry Rep. Weiner but we’re taking the day back.

With the help of the movies, of course.

A Moment in Time: Miracle


Today, with my mother who couldn’t recall the film, I watched Miracle.

For those of you who don’t know, this film follows the rise of the 1980 USA Olympic hockey team as they prepare themselves for the inevitable clash against the unstoppable juggernaut of the USSR. Facing down the fact that the Soviets haven’t been defeated by the Americans since 1960, and that they’ve won three straight Olympic gold medals, the USA’s team of collegiate athletes nonetheless is looking at their own shot at the gold. I cannot recommend this film highly enough; it rests comfortable atop the pinnacle of sports movies ever made, and it tells a story that has all but been forgotten… at least, until mentioned.

Today, it’s commonplace to hear people talk about the greatest moment in sports history. The greatest call in the game. The greatest game ever played. The greatest goal ever scored. But, at least, for denizens of the United States, that honour is one that will never be taken from the 1980 Olympic squad.

Miracle‘s most endearing attribute is that it’s about a real story. And it’s a story that thrills people who salute the stars and stripes even in 2011, or it should. It’s a better story than that of the Marshall football team. It’s a greater story than any recounting of a sport on these shores. It’s a story that could not happen without another Cold War – the story of a team of beleaguered underdogs (whom we love so well) battling against the unstoppable Soviet Union, in a time before the internal failings of the Soviets were known. This was a match that meant more than anything possibly can in sports today, no matter what team you root for, or what your age happens to be.

For me, personally, Miracle follows events that transpired years before I was born. My memories as a young man are not of the implacable Soviet Union hanging like a dark cloud over half the world, but rather of their collapsing economy, unsustainable with the lack of infrastructure that had secretly crippled them for forty years. Of negotiations and compromise that saw the Berlin Wall torn down, and a tenuous alliance between the Russian Federation and the United States be born. I have never lived an era in which NATO seemed to hang as an aegis between my life and nuclear oblivion, or where the threat of communism seemed like one which would march across the globe and take from me everything I held dear.

But I still feel the chills across my skin, the goosebumps rising, during Miracle’s climactic moments – the semi-finals between the USA and the USSR. Unlike most other sports movies, where the true draw is the characters and the drama, and a scripted sporting event can never mean as much, the semi-finals game in Miracle is sung to the script of history. It was a real game, where nobody on earth knew the result before it was written. Al Michaels reprises his role as play-by-play announcer, dubbing over his own dialog from the original broadcast, and our actors re-enact the twists and turns of this amazing contest on the ice.

I write about it for three reasons. Each of them single lines from the film, and each of them uttered from the roughly 20-straight minutes of hockey that we are treated to as viewers at the end of the film. Kurt Russell delivers for us perhaps the greatest performance of his career, in what is debateably the greatest film of his career, and what is probably the greatest sports film of all time.

“They just benched the best goaltender in the world,” he assures his team after a first period in which the USA dared to tie the score and the Soviets pulled their goaltender, Vladislav Tretiak, in a game where everyone present knew they were lucky to just be trailing by one going into the break.

“He doesn’t know what to do,” Kurt Russell, as the real-life character Herb Brooks, assures us as he sees Soviet coach Viktor Tiknohov barking terse commands at his team halfway into the final period. Against all odds, the USA’s team is still in this game, as the crowd at Lake Placid New York tirelessly chants “U-S-A!”, waving American flags, their energy carrying that USA collegiate team against a squad that, while “amateur” themselves, were easily considered to be the best hockey team in the world.

Finally, as time begins to expire, the digital redubs that Al Michaels recorded of his play-by-play switch back to the original telecast. We hear an Al Michaels thirty years younger screaming into his mic, as the puck is cleared toward center ice, putting the victory literally out of the reach of the USSR, “Do you believe in miracles!?” he pauses an instant, as the time truly does expire, and then screams “Yes!”

And history goes wild.

Hey, it’s the first trailer for David Fincher’s version of The Girl With The Dragon Tattoo


Okay, here’s the red band trailer for David Fincher’s unneccessary offensive insulting upcoming version of The Girl With The Dragon Tattoo. 

If you want, feel free to visit YouTube and read all the comments from fanboys having Finchergasms over it.  My position will continue to be that David Fincher is a very talented director, Rooney Mara was rather bland in both Nightmare on Elm Street and The Social Network, Daniel Craig is boring and overrated but then again, so is the character he’s playing, and finally, Noomi Rapace will always be the Girl With The Dragon Tattoo. 

That doesn’t mean that Fincher won’t make a good movie.  The trailer is effective and the material seems well suited for Fincher’s vision.  In fact, it could allow Fincher to get back to his Fight Club and Zodiac roots after going all boring and mainstream with The Curious Case of Benjamin Button and The Social Network.

Still, perhaps we should remake The Lord of The Rings trilogy next.  After all, those first three films are just sooooo New Zealand.  We need an American version.

 

A Cinematic Tribute To The Number 13


Hi there and Happy Friday the 13th!  Nobody’s quite sure why thirteen became the pariah of numbers though I’ve heard a lot of theories.  Judas was the thirteenth disciple, I’ve heard that one a lot.  You conspiracy junkies might be interested to know that the Knights Templar were arrested on Friday the 13th.  My mom always used to tell me that Tuesday the 13th (Martes y Trece, as she used to put it) was actually more dangerous than Friday the 13th.

Well, even if we’re not sure why, the number 13 just carries a certain power to it, doesn’t it?  Perhaps that’s why so many movies have sought to exploit that number.  And since I’m all about movies, here’s a few examples to help us all get through Friday the 13th.

Django Unchained: We have a title!


So, here I am.  It’s May 1st, I’m suffering from a mighty terrible case of insomnia, my asthma is bothering me so much that I’d scream if I had the lung capacity, and let’s just say that whatever it is that I’m watching on LMN right now is not memorable enough to rate a What Lisa Watched Last Night post.

And yet, I’m excited.  Why?

Because we have a title!

In this case, we have the title to Quentin Tarantino’s upcoming Spaghetti Western (or “Spaghetti Southern” as Tarantino has suggested it should be called).  The title is Django Unchained.  When I first heard that title, along with the rumor the Franco Nero would have a cameo in the film, I was hopeful that maybe Tarantino was looking to restart the original Django series.  Back during the heyday of the Spaghetti Western, there were a countless number of Italian-made westerns that detailed the adventures of a ruthless bounty hunter named Django.  Franco Nero first played Django in a film entitled, not surprisingly, Django.  However, after the success of the first Django, Django was played by everyone from Tomas Milian to Ivan Rassimov to Jeff Cameron to George Eastman. 

However, it appears that the name of Tarantino’s Django is not evidence of a reboot but just of an homage.  Tarantino’s Django is a former slave who, along with an older German bounty hunter (presumably to be played by Christoph Waltz, who could use another good role), returns to the South to rescue his wife from an evil plantation owner. 

If you read the story over on Comingsoon.net, you can read a review of the script from someone who claims to have read a copy.  I’m not going to quote from that review because, quite frankly, it’s obvious just from the tone of it that the reviewer is busier trying to come across like a film geek badass than actually reviewing the script.  (Seriously, there’s nothing I hate more than people who think they’re more interesting than they actually are.)

Still, I will always look forward to anything Tarantino does.  Add Franco Nero into the mix and we have got a lot to look forward to.

Trailer: Harry Potter And The Deathly Hallows, Part 2


At the risk of revealing my inner fangirl, there is nothing — NOTHING, I SAY! — that I am more looking forward to than sitting in a dark theater and watching Harry Potter and the Deathly Hallow, Part 2 on July 15th. 

Let’s just hope that, after this movie comes and goes — Hollywood doesn’t decide to remake the Harry Potter series with Daniel Craig as Harry and Rooney Mara playing Hermione under the direction of David Fincher.

RIP: Tim Hetherington


Today the film and journalist community has lost one of its bravest brothers as news reports have confirmed the death of Tim Hetherington. Mr Hetherington was an acclaimed British conflict photojournalist and co-director of the wartime documentary Restrepo which was nominated by the Academy for a Best Documentary in this past Academy Awards ceremony.

Mr. Hetherington was in the besieged Libyan city of Misrata when he suffered wounds from an RPG attack on April 20, 2011 that he would soon die from. Three other photojournalists working side-by-side with Mr. Hetherington were also  wounded with two of the photographers in severe to grave conditions (Chris Hondros and Guy Martin). The third photographer, Michael Christopher Brown, suffered non-life threatening injuries during the attack.

The loss of Mr. Hetherington is a blow to the documentary community and to the community of photojournalists who has taken it upon themselves to report and record the conflicts going around the world. Mr. Hetherington’s work on bringing to light the day-to-day life of American soldiers fighting in one of the most dangerous combat zones in the world with Restrepo has earned him accolades from colleagues and has earned him friends with the very subjects he chose to cover.

It is a sad day indeed this April 20, 2011. Tim Hetherington has been taken too early and his name and legacy will live on through his past work and the lives he helped cover and change through work he loved to do best.

EDIT: News has now come down that fellow photojournalist Chris Hondros has also died from wounds suffered during the same attack which took the life of war correspondent and docu-filmmaker Tim Hetherington.

Source: New York Times

Rest In Peace: Sidney Lumet


Sad news came across the news wire this morning as it was confirmed that one of the most esteemed filmmaker in America has passed away at the age of 86. Sidney Lumet was considered by many as one of the best filmmakers of all-time. He definitely is one of the best, if not the best, American filmmaker of all-time.

Lumet was quite prolific as a filmmaker since he began to work behind the camera starting in 1957 with the classic drama 12 Angry Men and ending with his most recent work in 2007 with Before the Devil Knows Your Dead. In between these two films he would direct another 43 films with all of them received positively by critics and audiences everywhere. He was the consummate professional and never waited for the perfect project to come along. He always went into a film project because he either liked the script or, barring being in one which didn’t have a script he liked, it had actors he wanted to work with or he wanted to test his abilities as a filmmaker with new techniques.

Sidney Lumet began his career directing Off-Broadway plays and summer stock productions. He would soon move into directing tv shows in 1950. It would be his time as a tv director where turn-arounds between episodes were so short that a director had to work quite fast that he would earn the reputation as a filmmaker who didn’t spend too much time shooting too many takes of a scene. Lumet became known as a filmmaker who would shoot one to two takes of a scene and move onto the next. Another tool he learned as a tv director that served him well once he moved into film was to rehearse for several weeks with his actors the script before starting up actual production behind the camera.

It was in 1957 when he finally moved into filmmaking with 12 Angry Men (itself previously a teleplay for a TV drama) which would catapult him into prominence in the film community. The film was well-received and still considered by many as one of the most influential films of its kind as it highlighted social injustice in a time when such themes were not considered profitable by studios and the people who ran them. This was the film which would help build the foundation of Lumet’s filmmaking-style as he would continue to use filmmaking as a way to tell the audience about social injustices not just in his preferred film location of New York, but in America and the world, in general. Some of the best films in American history were done by him during the 1970’s when he would take the chaos and public distrust of long-standing public institutions in the US and crafted three of the finest films of the 70’s and America as it was during that decade with Serpico, Dog Day Afternoon and Network.

Sidney Lumet’s legacy as a filmmaker will continue to inspire young filmmakers long after his passing. He was a man who looked at filmmaking as an artform and not just a way to entertain the audience. His films never talked down or pandered to the very general public who watched them unlike some of the filmmakers working in the industry today. His legacy as being the consummate “actor’s director” meant that one didn’t need to be dictatorial with his cast and crew to create a great piece of filmmaking. That there were other ways to make a film and do it in such a way that everyone were still able to give their best without being alienated to do so.

My very first experience when it came to Sidney Lumet had to have been watching his Cold War classic, Fail-Safe, in high school history and it was one of those films which got me looking at film as something more than a form of entertainment. Here was a film that was entertaining but also one so well-made and acted that it’s ideas and themes were not lost. It opened up my eyes to the possibility of film as a medium that could be used to teach, raise issues to debate in society and highlight both the good and the bad of the human experience.

Sidney Lumet has made such an impact not just on those who were fans of films and grow up to become players in the industry, but also those people who would work in other fields of life whether they were lawyers, judges, police officers or politicians (professionals he would use over and over in his films throughout his career). Even Supreme Court Justice SOnia Sotomayor would look at Lumet as an inspiring figure in convincing her that she made the correct choice in choosing law as the path for her professional life.

I find it one of the most fitting tribute for Sidney Lumet that his time as a filmmaker and doing what he enjoyed doing the most became inspirational for people of all color, stripe and creed. This was a man who didn’t just take from the public but gave back just as much in the end. America has truly lost one of its best artists.

Serpico

The Hill

Dog Day Afternoon

Network

The Verdict

Before The Devil Knows You’re Dead