"Nay"
A woman with her back drenched in sweat, runs away. Then darkness follows as an eerie sound of a camera takes a snapshot. No music, only the sounds of quick footsteps and lots of heavy breathing echo in the dark when suddenly, a rumble of a chainsaw hacks through the tension. “Texas Chainsaw Massacre (2003),” is reborn from its 1974 original, but are we still afraid or are we, sitting back scratching our heads wondering, “Oh no, not again!” Horror movie remakes, hate to love them or love to hate them?
Are studios losing their spark for originality or is this simply a genre that even if it flops in the box office, can reel in more profits on DVD and cable as MSNBC contributor, Dave White points out in the article "I Spit on Your Horror Movies Remakes, Sequels (2006)." Suspenseful thrillers may have jumpstarted our hearts back in the 1970s, but over 30 years later it hardly has enough impact to keep a pulse.
Tuesday, March 20, 2007
An 80's Time Capsule
Look closely because you may miss the site of some of the most intriguing, upcoming attractions in the art world! A hidden treasure, tucked away in-between one of the busiest intersections in Los Angeles: Gallery Nineteen Eighty Eight (G1988).
Co-owners Jensen Karp and Katie Cromwell opened this venue around the corner of Melrose and La Brea back in 2004, paying tribute to the pop-cultural 1980s era (the year when the city struck big in the entertainment industry)! Yo MTV Raps flooded the mainstream with musical mayhem that will eventually spring rappers like N.W.A. out from underground. L.A. also conquered the best of the best in sports as the Lakers took home the World Championship, beating the Detroit Pistons and the Dodgers won the World Series against the Oakland A's.
Originally, G1988 was going to be called Anthony Michael Hall-way, obviously after the well-known actor of the times, Anthony Michael Hall who starred in such cult classics as The Breakfast Club, Weird Science, and Sixteen Candles to name a few. However, as Karp explained they may still be interested in using this name for a future venue (with the actor's permission of course)!
G1988 gives the creator an opportunity to expand on their work by allowing them to use the entire room to its full capacity, some even spraypainting its white walls to illuminate their themes. In 2006, "Remixing the Magic” twisted the likeness of Walt Disney's characters and “I Am 8-Bit,” showcased pre-1995 video games attracting a star-studded crowd. The gallery’s open ceiling allows more breathing room for bigger pieces and the slabs of cement flooring provide a neutral foundation to the many vibrant colors hovering above it.
Karp and Cromwell, both UCLA Alumni's, wanted to create a space to house and highlight beautiful works of art by unfamiliar faces. Their purpose was to give unknown artists a chance to show off their talents without having to restrict themselves to rules and regulations like those set by other more popular locations. The gallery’s illustrative groups take art outside of the box, away from the stuffiness of a museum.
Gallery Nineteen Eighty Eight
7020 Melrose Ave.
Los Angeles, CA. 90038
323-937-7088
Cuddly Creatures Gone Mad!
Fever Dream (2007) - new paintings by Joe Ledbetter
"Yay"
He takes a monkey out of the tree and plops it onto a living room sofa. An open pizza box ages on the coffee table while a video game controller sits close by. The fluorescent glow of the TV screen illuminate the room and you suddenly feel as if this curious animal-turned-couch potato can pull you into its “Wasted Space.” Is this really a monkey or an image of how we are when we are fueled with nothing more than junk food and propaganda? This is but one example of how Los Angeles based artist, Joe Ledbetter's new exhibit, "Fever Dream" plays on the idea of animal vs. human or human vs. animal. See for yourself. You be the judge.
It's as if Lebbetter dreamed of a world where animals ventured outside of their environments and into our homes. Yet one can also argue how it shows human characteristics in animal form similar to how author George Orwell used pigs to symbolize corrupt political figures in his book Animal Farm (1945).
A lion tames a blow dryer in “Shave and A Haircut.” Patches of its golden fur scatters all over the linoleum floor. A pair of scissors lie near its sharp claws with a satisfied grin on its face as if proud for trimming its own mane. Yet, what does this cartoon really show? In my eyes, it depicts how males can be overly-confident about their appearance. And how their cockiness and quick wit can even challenge their own sense of self-worth staring back at their reflection in a mirror.
But it's not only how we act on the outside, but also how we conquer obstacles inside of ourselves that Ledbetter portrays. A turkey traps itself in an ice cube with what looks to be a cigarette box well out of reach in “Cold Turkey." This obviously illustrates the struggles we encounter when trying to quit at something bad for us. Anxiety, withdrawals and the need to be near something even if we can't get to it. In this case, smoking in which one would literally have to have their hands tied just to resist temptation.
Violence spills out onto the acrylic board when mythical creatures declare war in "Brawl." An enormous blue guerrilla strangles a flustered green dragon as its tail whips out in a frenzy to defend itself. This is our temperament in action, a tug of war between good and evil. But which one resembles what and more importantly, who wins? Or do they both lose? It seems each character possesses both sides and its merely a toss up; a lucky draw of who'll get to gloat for glory, but the battle is at a standstill and we are left wondering like we are now in the wars of today.
But not all emotions are evil. In "Under My Wing," you see sadness protected by hope. A flower pot topples over as the dirt that once kept it alive causes it to wilt. Flying skulls lurk overhead as if death awaits just around the corner, but a dragon holds its wing over the sad little goblin and its poor potted plant, protecting it from harms way.
Ledbetter's work is often displayed at the Los Angeles Gallery 1988. Look it up and come on down!
"Yay"
He takes a monkey out of the tree and plops it onto a living room sofa. An open pizza box ages on the coffee table while a video game controller sits close by. The fluorescent glow of the TV screen illuminate the room and you suddenly feel as if this curious animal-turned-couch potato can pull you into its “Wasted Space.” Is this really a monkey or an image of how we are when we are fueled with nothing more than junk food and propaganda? This is but one example of how Los Angeles based artist, Joe Ledbetter's new exhibit, "Fever Dream" plays on the idea of animal vs. human or human vs. animal. See for yourself. You be the judge.
It's as if Lebbetter dreamed of a world where animals ventured outside of their environments and into our homes. Yet one can also argue how it shows human characteristics in animal form similar to how author George Orwell used pigs to symbolize corrupt political figures in his book Animal Farm (1945).
A lion tames a blow dryer in “Shave and A Haircut.” Patches of its golden fur scatters all over the linoleum floor. A pair of scissors lie near its sharp claws with a satisfied grin on its face as if proud for trimming its own mane. Yet, what does this cartoon really show? In my eyes, it depicts how males can be overly-confident about their appearance. And how their cockiness and quick wit can even challenge their own sense of self-worth staring back at their reflection in a mirror.
But it's not only how we act on the outside, but also how we conquer obstacles inside of ourselves that Ledbetter portrays. A turkey traps itself in an ice cube with what looks to be a cigarette box well out of reach in “Cold Turkey." This obviously illustrates the struggles we encounter when trying to quit at something bad for us. Anxiety, withdrawals and the need to be near something even if we can't get to it. In this case, smoking in which one would literally have to have their hands tied just to resist temptation.
Violence spills out onto the acrylic board when mythical creatures declare war in "Brawl." An enormous blue guerrilla strangles a flustered green dragon as its tail whips out in a frenzy to defend itself. This is our temperament in action, a tug of war between good and evil. But which one resembles what and more importantly, who wins? Or do they both lose? It seems each character possesses both sides and its merely a toss up; a lucky draw of who'll get to gloat for glory, but the battle is at a standstill and we are left wondering like we are now in the wars of today.
But not all emotions are evil. In "Under My Wing," you see sadness protected by hope. A flower pot topples over as the dirt that once kept it alive causes it to wilt. Flying skulls lurk overhead as if death awaits just around the corner, but a dragon holds its wing over the sad little goblin and its poor potted plant, protecting it from harms way.
Ledbetter's work is often displayed at the Los Angeles Gallery 1988. Look it up and come on down!
Friday, March 16, 2007
The Last Kiss, My Ass!
The Last Kiss (2006) directed by Tony Goldwyn
"Nay"
So here's a movie about a "boy" pushing 30, who finds himself in somewhat of a mid-life crisis or in my opinion, an excuse to fuck up.
Zach Braff (Garden State, Scrubs) plays Michael on the brink of a mental break down because his girlfriend of 3 years, Jenna (Jacinda Barrett) discovers she's 3-months pregnant. But rather than having a heart-to-heart with her, he thought it best to let temptation get the best of him with a too-good-to-be-true other woman, Kim (Rachel Bilson).
The courtship was quick and unrealistic since Kim practically threw herself onto Michael like an old rag. Yes, she's young and naive but a cute lil' college girl shouldn't have to try so hard to nail a guy. On the other hand, Michael didn't really do much to resist, getting pretty easily hooked with her "free spirit," (looks just happened to be a bonus even though she presented a lot of Jenna's qualities: brunette, light complexion, pale skin, and trim figure). So, he goes against his morals just to see where it would lead him. Nothing wrong with that right? Two people, strongly attracted to each other can just hang out without a care in the world. Sure...Due to an unfortunate event, Jenna runs into his friend (his scapegoat) and wonders, "Hmmm...where's Michael?" The audience knows shit's about to hit the fan. Hard.
The friend couldn't lie, but he didn't have to say much either since it was written all over his face. (I give Barrett a lot of credit here because she did a great job playing a woman scorned!) Her reaction was immediate, almost as if you can see her instincts running wild inside her head telling her, "Hey he's cheating on you!" She leaves in a mad hurry, but Michael conveniently turns off his cell so she can't get through. Ugh! All she could do was go to their home and wait. Pacing back and forth until the door finally opens. And he enters...
Michael hung tightly onto his lie, but knew there was no way out of this mess. The next exchange of dialogue took me further back than I needed to go:
In tears, Jenna asks, "Did you kiss her?"
Stuck on stupid, Michael answers, "Yes..."
Jenna continues, "How many times?"
And Michael responds, "Several."
So, Jenna does what any mortified, heart-broken soul would do. She grabs a butcher knife and forces him out of the house! And he goes where any typical, dick-driven asshole would: back to the "walking sex object" who made everything seem so easy.
The whole idea backfires in his face. Kim ended up being attached, therefore less-appealing while Jenna (whom he had all along) pulled further and futher away. If the theory is to learn from your mistakes, how can we sympathize with an idiot who knowingly made the mistake first? Then proceeds to go back for more?! He should have known what he had and worked to keep it going than let his other head do the thinking for him.
Do they get back together or not? We're left hanging. My ending is that it ended (only because considering taking him back would be against everything I believe in a relationship). How was this movie a comedy, I have no idea. A drama? Who cares?! Why watch something that only brings back hurtful memories or worst causes you to doubt the one you're with now? I say, if you make a movie like this, kill someone! Anywho, the only real lesson here is to learn that once it's done, it can always be done. Taking them back only gives them an opportunity to wrong you again.
"Nay"
So here's a movie about a "boy" pushing 30, who finds himself in somewhat of a mid-life crisis or in my opinion, an excuse to fuck up.
Zach Braff (Garden State, Scrubs) plays Michael on the brink of a mental break down because his girlfriend of 3 years, Jenna (Jacinda Barrett) discovers she's 3-months pregnant. But rather than having a heart-to-heart with her, he thought it best to let temptation get the best of him with a too-good-to-be-true other woman, Kim (Rachel Bilson).
The courtship was quick and unrealistic since Kim practically threw herself onto Michael like an old rag. Yes, she's young and naive but a cute lil' college girl shouldn't have to try so hard to nail a guy. On the other hand, Michael didn't really do much to resist, getting pretty easily hooked with her "free spirit," (looks just happened to be a bonus even though she presented a lot of Jenna's qualities: brunette, light complexion, pale skin, and trim figure). So, he goes against his morals just to see where it would lead him. Nothing wrong with that right? Two people, strongly attracted to each other can just hang out without a care in the world. Sure...Due to an unfortunate event, Jenna runs into his friend (his scapegoat) and wonders, "Hmmm...where's Michael?" The audience knows shit's about to hit the fan. Hard.
The friend couldn't lie, but he didn't have to say much either since it was written all over his face. (I give Barrett a lot of credit here because she did a great job playing a woman scorned!) Her reaction was immediate, almost as if you can see her instincts running wild inside her head telling her, "Hey he's cheating on you!" She leaves in a mad hurry, but Michael conveniently turns off his cell so she can't get through. Ugh! All she could do was go to their home and wait. Pacing back and forth until the door finally opens. And he enters...
Michael hung tightly onto his lie, but knew there was no way out of this mess. The next exchange of dialogue took me further back than I needed to go:
In tears, Jenna asks, "Did you kiss her?"
Stuck on stupid, Michael answers, "Yes..."
Jenna continues, "How many times?"
And Michael responds, "Several."
So, Jenna does what any mortified, heart-broken soul would do. She grabs a butcher knife and forces him out of the house! And he goes where any typical, dick-driven asshole would: back to the "walking sex object" who made everything seem so easy.
The whole idea backfires in his face. Kim ended up being attached, therefore less-appealing while Jenna (whom he had all along) pulled further and futher away. If the theory is to learn from your mistakes, how can we sympathize with an idiot who knowingly made the mistake first? Then proceeds to go back for more?! He should have known what he had and worked to keep it going than let his other head do the thinking for him.
Do they get back together or not? We're left hanging. My ending is that it ended (only because considering taking him back would be against everything I believe in a relationship). How was this movie a comedy, I have no idea. A drama? Who cares?! Why watch something that only brings back hurtful memories or worst causes you to doubt the one you're with now? I say, if you make a movie like this, kill someone! Anywho, the only real lesson here is to learn that once it's done, it can always be done. Taking them back only gives them an opportunity to wrong you again.
Monday, March 12, 2007
All You See is Eye Candy
300 (2006) directed by Zack Snyder
"Yay"
Who said warriors need armor anyway? Strap on those tight, red briefs boys! Pair them up with big bulky boots and toss that velvet red cape over your shoulders! "It's a bird, it's a plane, no! IT'S SUPERMEN B.C.!"
Yes, with all this eye candy who cares about the war?
300, based on Frank Miller's graphic novel may not have had the strong character development we see in most epic movies or even an unpredictable plot since, let's face it they don't win in the end. But it gave one hell of a show to the fans that flocked to the theatres Friday night. So...is this simply a no-brainer, testosterone-driven flick about violent strippers in their underpants? Yes! But it ain't bad at all.
The battle scenes are like Troy meets the Matrix. The set-up begins with a handful of immaculate fighters, their feet planted firmly on the ground, huddled together like one, big ball of rock-hard steel as their opponents from all sides run towards them at full speed. (It moves so fast all we see are shadows in the cliffs). Then, BOOM! Things fly left and right like dry leaves in a swift breeze. Then the ball breaks apart as one by one, each Spartan dives in, head first into a sea of soldiers with only a single shield and spear to keep them afloat. We watch this hypnotic chaos in slow-motion, taking in all its blood-splattering , earth-shattering mayhem.
The best part is that unlike most historical films, women are seen as more than sweet, pleasurable objects (even though they are dressed in very skimpy attire). They don't get gang-raped or beaten. They don't cry hysterically or sit idly by waiting for the men to care for them. These women are strong because they can take care of themselves. Like the Queen says in the beginning, "Only Spartan women give birth to real men." Their power lies in their ability to give life (and for the first time, in a long while it is finally being shown as a strength we hold over any man). The Queen knows how to use her sex appeal and with a quick thrust of her blade, she regains her place on the throne in front of a room full of pompous men (definitely my favorite part).
If you expect nothing more than an adrenaline rush of pure entertainment, then there's joy to be had with seeing this film. Sure it can get a little over the top with the naked Oracle dance (those things can poke your eyes out!) and the attack of the killer rhino, but you have to admit that the nature of this genre is merely to attract the curious and provide some kick-ass scenes and hilarious one-liners that would make anyone want more. So laugh a little, "HOOT" for the hotties and enjoy!
"Yay"
Who said warriors need armor anyway? Strap on those tight, red briefs boys! Pair them up with big bulky boots and toss that velvet red cape over your shoulders! "It's a bird, it's a plane, no! IT'S SUPERMEN B.C.!"
Yes, with all this eye candy who cares about the war?
300, based on Frank Miller's graphic novel may not have had the strong character development we see in most epic movies or even an unpredictable plot since, let's face it they don't win in the end. But it gave one hell of a show to the fans that flocked to the theatres Friday night. So...is this simply a no-brainer, testosterone-driven flick about violent strippers in their underpants? Yes! But it ain't bad at all.
The battle scenes are like Troy meets the Matrix. The set-up begins with a handful of immaculate fighters, their feet planted firmly on the ground, huddled together like one, big ball of rock-hard steel as their opponents from all sides run towards them at full speed. (It moves so fast all we see are shadows in the cliffs). Then, BOOM! Things fly left and right like dry leaves in a swift breeze. Then the ball breaks apart as one by one, each Spartan dives in, head first into a sea of soldiers with only a single shield and spear to keep them afloat. We watch this hypnotic chaos in slow-motion, taking in all its blood-splattering , earth-shattering mayhem.
The best part is that unlike most historical films, women are seen as more than sweet, pleasurable objects (even though they are dressed in very skimpy attire). They don't get gang-raped or beaten. They don't cry hysterically or sit idly by waiting for the men to care for them. These women are strong because they can take care of themselves. Like the Queen says in the beginning, "Only Spartan women give birth to real men." Their power lies in their ability to give life (and for the first time, in a long while it is finally being shown as a strength we hold over any man). The Queen knows how to use her sex appeal and with a quick thrust of her blade, she regains her place on the throne in front of a room full of pompous men (definitely my favorite part).
If you expect nothing more than an adrenaline rush of pure entertainment, then there's joy to be had with seeing this film. Sure it can get a little over the top with the naked Oracle dance (those things can poke your eyes out!) and the attack of the killer rhino, but you have to admit that the nature of this genre is merely to attract the curious and provide some kick-ass scenes and hilarious one-liners that would make anyone want more. So laugh a little, "HOOT" for the hotties and enjoy!
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