Archives for Marvin Brown

Quik Flix Hit

After Earth (2013)

Rated PG-13

This film publicity image released by Sony - Columbia Pictures shows Jaden Smith in a scene from "After Earth." (AP Photo/Sony, Columbia Pictures) ORG XMIT: NYET842

Sony – Columbia Pictures

Yes, it’s a project of hubris (Will Smith turned down Django Unchained for this?), and yes, director M. Night Shyamalan (The Sixth Sense, The Happening, The Last Airbender) is in a rut. Even so, After Earth isn’t all that bad. I wouldn’t measure it against the current crop of summer movies, but it’s one of those watchable flicks you stumble into while flipping through one of your hundreds of cable TV channels.

BloghouseIn the distant future, man has long ago departed earth for more hospitable climes. Nova Prime is our new home and Smith’s Cypher Raige is the leader of our peacekeeping Rangers. Rangers take on the S’krell, alien beings bent on our destruction. The S’krells hope to vanquish us with their vicious Ursa creatures which, though blind, can hunt by sensing fear. Cypher discovers how to defeat the Ursas by “ghosting,” which is a method of controlling one’s fears, thus becoming invisible to the creatures. He is legend. Now if only he could connect with his distant son Kitai (Jaden Smith), who strives to prove himself to himself and his doubting father.

Father and son each carry the burden of guilt over the loss of daughter/sister Senshi, who died defending young Kitai from an Ursa. So with the pieces in place, father and son are goaded by wife/mom Faia into using a Ranger training exercise as a bonding getaway. Things get bad when their spacecraft encounters an asteroid shower, worse when it crashes on quarantined earth, worse still when the captured Ursa brought along for training purposes escapes the wreaked vessel.

With the ship’s distress beacon flung miles from the scattered ship, and Cypher critically injured, it’s up to Kitai to traverse the hostile environment, with the Ursa on his tail, to retrieve the beacon. Can the son overcome his fears? Prove himself to dad? Avenge his sister?

Will Smith’s role in this is limited. This is a showpiece for his son. Jaden is serviceable, though he lacks his dad’s effortless charm and needs a few more laps around the acting track. To be fair, he’s younger than his dad was when Will got his start, and Jaden carries the burdens as well as benefits of nepotism. But he doesn’t embarrass himself and involved me in his plight. It’s a decent time-waster, but you can waste that time once it comes to TV.

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Quik Flix Hit

Man of Steel (2013)

Rated PG-13

manofsteel

Warner Bros.

My parents took me to see Superman The Movie (1978) when I was about 10 years old. I’d seen movies in the theater before, but this was the first one to crystalize the movie-going experience for me. I remember the setup being a little slow, I remember young Clark Kent racing a train, I remember him being conflicted about his misunderstood powers, but I will never forget the first time Superman accepted The Bloghousehis destiny and took flight across my movie screen. Kids were standing on their seats cheering. I remember that. The “You’ll believe a man can fly” tagline was one of the best ever written. Even before I’d really learned to appreciate cinema, the special effects, the love story, the soaring John Williams score really made this a touchstone of my youth.

All of this to say that I obviously didn’t relive that experience with Man of Steel. How could I? I’m a grown man with children of my own who has seen every manner of impossible image brought to life by computers and Hollywood wizardry, to say nothing of all the superhero movies—including the Christopher Reeve sequels—that have come since that first film.

This is a good superhero film in an era of good superhero films. It tells its story with passion (some will say it takes itself too seriously), invested drama and big-summer action. The actors are tops: Amy Adams (Her)  as Lois Lane is aggressive, intelligent, professional but also tender. Kevin Costner’s fantastic in his brief but impactful scenes as Clark’s earth dad, reminding me of what I used to like about him. Russell Crowe brings his usual gravitas to Jor-El, Superman’s biological father, and gets more screen time than I expected. Michael Shannon, who specializes in intense characters, is excellent as General Zod, Superman’s main nemesis here. Zod is relentless, brutal, assured in his purpose (almost convincing me of his plight), with just enough complexity to steal most of his scenes. This new guy, Henry Cavill, is convincing as a dour Clark, a pride-gaining Kal-El and a blossoming Man of Steel. I like how he’s still learning to be Superman by the end of the film.

We’ve come a long way since the wire-work and green-screen wonderment of the original Superman. In this new movie there wasn’t a scene of action or flight or crumbling skyscraper that didn’t look totally believable. I really liked this film. And yet the experience was bittersweet, me wanting to feel as if I was having my mind blown away, but knowing the perfect storm of my youth, groundbreaking f/x, and the power of seeing the first comic book hero explode into life on the big screen would never be duplicated.

Side note: I would never minimized Williams’ iconic theme, but Hans Zimmer‘s new theme equally befits its era’s Superman.

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Quik Flix Hit

Video review

Upstream Color (2013)

Rated PG-13

upstream

erbp

What a delicate film this is.

To be sure, weighty and absurd ideas are stacked upon each other, scene by scene, but underneath is a foundation so delicate you wonder how it can support this film. And yet it does.

The BloghouseOK, here we go: Women pick blue flowers growing near a great tree on a riverbank. A shady fellow buys these flowers and harvests grub worms from the soil of the plants. A chemical is extracted from the worms to create a potent drug that, depending on how you use it, can place you in synchronicity with the environment, can link your mind with that of another person who’s also on the drug, or can be wielded as an instrument of mind control.

The opening segments befuddle and intrigue as we observe—with sparse dialogue and music—the man as he worm-drugs a woman named Kris, takes her back to her own home and through mind control (and Henry David Thoreau’s Walden) encourages her to empty her bank accounts and give up personal belongings. He keeps her in this fugue, compliant state (for days? weeks?) while he bleeds her dry. Finally he packs up and leaves. Kris slowly comes back to what was once her reality starved, bruised, confused, jobless, penniless, shattered. Her world no longer makes sense, her mind and emotions are altered in a way that encourages viewers to acknowledge that reality can sometimes be a fragile, fleeting idea.

Just as we’re wrapping our minds around this segment, we’re introduced to a musician/pig farmer, credited as The Sampler, who calls Kris to him using his sound-recording devices like a pied piper. The Sampler removes a now much-larger worm from Kris and implants it into one of his pigs. From time to time the man tosses piglets into the river, which then float downstream to our tree from the beginning, where the piglets rot, freeing the worms from within, which become nutrients for the magic flowers the women come to pick.

Got that? We’re witnessing a life cycle, which Kris and many other unwitting victims—and their corresponding pigs!—are now a part of.

Another such victim is Jeff, who is drawn to Kris, perhaps because his pig couples with Kris’ pig back on the farm. They are two mind-scattered peas in a pod who can’t even discern whose memory is whose, even as they piece together the riddle of their lives, and fall in love.

You think I’ve told you too much of the plot; I think I’ve done you a favor. It took three viewings to piece this much together, as the story is told out of sequence, in fragments and largely with only sound and subtle cutting between related images, as dialogue is kept to a minimum. (The last 20 minutes, all the way to the credits, are dialogue-free.)

I think the director (Shane Carruth, whose debut microbudget, mind-frying time-travel flick Primer set the indie world on fire in 2004) wants to immerse the viewer in a sonic, wispy-image experience that approximates Kris and Jeff’s shattered and reforming mindsets. And maybe this approximates our truest selves: how we are merely a collection of our selective memories, which we figuratively hold tightly in our hands like a bunch of cards. This movie is about what happens when someone or something swats those cards to the ground and we have to pick them up again. I think that’s the foundation of this film.

I don’t know if I understood everything going on here, but this I know: I worked up quite a bit of empathy for Kris and Jeff’s plight and was deeply moved as I reflected that emotions and motives are still powerful even when untethered from the sanity of everyday life. By the finale, I found myself very satisfied by an ending that isn’t really as happy as it seems, once you think about it.

For days after I saw this it swam in my mind like a magical worm upending my notions of a conventional narrative love story.

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Quik Flix Hit

Star Trek Into Darkness (2013)

Rated PG-13

star-trek-into-darkness

Paramount Pictures

As the end credits rolled for Star Trek Into Darkness, an obviously old-school Star Trek diehard (I’m not using the ‘T’ word) came up to me and my wife in dire straits over his belief of the new film’s disrespect of the space drama’s canon.

Bloghouse“The finale, shot-for-shot, matched the finale of (1982’s Star Trek II: The Wrath of Khan),” he shouted at us in the dark.

“Well, they did swap the main characters’ fates this time around,” I antagonized, to my wife’s chagrin. This guy has singlehandedly assured that I won’t be watching anymore of these films in the theater with my wife. Thanks, pal.

OK, this isn’t your father’s Star Trek, or even your older brother’s. But it does manage to hit the sweet spot between Roddenberry devotees, Next Generation Gen X’ers and millennials, who have no intention of looking back as they head warp speed into J.J. Abrams’ universe. But that was the plan all along, wasn’t it?

Am I mistaken in my understanding that the franchise reboot established that this was a different approach to the Trek of yore? Wasn’t the 2009 film’s debut the time to rail against this new Star Trek, or just bow out altogether? That film was a smash, though, drawing in hardcores and newbies alike. My wife, no fan of sci-fi, thought it was fantastic. So if you came back for more, Mr. Shot-by-Shot, why complain? The new franchise is firing on all its Abrams cylinders, which is to say it holds respect for the original series, but doesn’t feel bound to be a slave to it.

Quick summary: Young Capt. Kirk, still the rogue, against-the-regulations leader of the USS Enterprise, is fuel by revenge after the Federation is attacked by an unknown terrorist. Shades of 9/11 abound, as a shaken Federation looks to harsh, secret strategies in the wake of the devastation. This includes the machinations of Dick Cheney, I mean, Peter Weller’s Federation muckety-muck Marcus, whose sneaky efforts could precipitate all-out intergalactic war.

Spock’s cool logical Vulcan mind collides with Kirk’s burning ideas of revenge, but as always, the two level each other out. A quick lovers’ quarrel between Spock and Uhura, Bone’s dalliance with Tribbles and Scotty’s silly/brilliant hijinks fill in the gaps between story proper, which is largely told in bold swaths of action.

Benedict Cumberbatch is wonderfully powerful as Khan. I don’t know how we get from this to Ricardo Montalban, but, hey, this guy was a fierce and daunting opponent who, at turns, outwits and/or outfights the Federation, Kirk, Spock, Marcus and special guest, the Klingons. By the hour-and-a-half mark I was about to put a big “S” on this guy’s chest and call it a day.

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Quik Flix Hit

Iron Man 3 (2013)

Rated PG-13

Iron Man 3 Tony Stark/Iron Man (Robert Downey Jr.) Film Frame ©Marvel Studios 2013

Marvel Studios

We already knew Robert Downey Jr.’s Tony Stark is a mad, snarky genius when he’s surrounded by his dazzling technology, ridiculous wealth and groupies, but darn-it-all if he’s not just as brilliant and snarky when everything’s been taken from him—money, power suit, tech toys, reputation, loved ones.

brown-blogartIn this fourth iteration of the Iron Man saga (including his appearance in last year’s Avengers), Downey and the creators of the franchise have tacked backward to move forward.

By taking away his technology and limiting the use of his supersuit, IM3 recalls the desperate, resilient Tony Stark of the first film (2008) who fashioned his prototype Iron Man suit from spare weapons parts while being held captive in a cave.

I didn’t like this go-round as much as the first film (which surprised me with Downey’s impromptu wit, breezy action and clean through-line plot), but it beats Iron Man 2 (2010) and finds different riffs on what should be getting stale by now.

Stretches of this film rely not on action and special effects, but on the emotional and physical plight of Stark. Downey’s just great at this stuff: Serious and commanding enough to sell Stark as someone not to be trifled with, but never letting things get too heavy with his lethal, endless quips and his wink-wink genius-playboy persona.

I think the small stuff works better than the big moments: When he puts together battle gear from parts he buys from a small-town hardware store; wearing a Dora the Explorer digital watch he bums off the kid sister of a boy he befriends; the panic attacks that come out of nowhere and leave Stark a quivering mess.

I’ll leave The Mandarin stuff for the fanboys to hash out, but I’ll just say I loved Ben Kingsley as both The Mandarin and the man behind The Mandarin.

Sure, this is a summer special effects action flick. That stuff’s here too: a robot army zigzagging across the sky; deadly super soldiers who burn not just with malevolence, but seemly of lava from within; the show-stopping set piece in which Iron Man must rescue 13 people as they plummet from a destroyed Air Force One; a very cool scene where he redirects his iron suit to assemble around his girlfriend to protect her as she hurls through the air after a missile attack on Stark’s Malibu mansion.

It took some level of guts to have Stark grow up and reflect that he and his suits (and the lifesaving reactor in the middle of his chest) have become codependents and it’s time to end the relationship and fully embrace the real one he has with his love Pepper Potts (Gwyneth Paltrow).

I don’t know where they go from here (Avengers 2, maybe), but if they’re done with this Downey/Stark version, this was a nice sendoff.

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The Learned Owl

The Learned Owl Book Shop

The Learned Owl Book Shop, nestled in Hudson, Ohio, north of the Clocktower, is one of those fantastic independently own books stores that seem so hard to find these days. Around since 1968, The Learned Owl offers three floors of books for all ages and interests, is a major supporter of local authors, and participates in annual events, like the upcoming Ohio Author and Book Fair. I will be appearing at this year’s event with 40 other authors. Click here to learn more.

My novels Jigsaw Man and Covet are available at The Learned Owl, and many other local authors’ works are awaiting your discovery. Definitely a good way to spend a Saturday afternoon.

| The Learned Owl

  204 N Main St.

  Hudson, OH 44236

The Web We Weave

It’s not a mirage if you saw something on this website yesterday and then came back today and it’s gone—or in a different location, or is different color. Maybe a photo’s gone, or it’s gotten bigger. Change is good, right? And I’m on the world wide learning curve.

As we get up and running at marvincbrown.com, we’re tweaking as we go. And we’re taking suggestions from visitors, which also accounts for some changes.

If the Internet’s a web, it’s a sticky one. The task is to get things user-friendly, interesting and add in enough redundancies to keep you from getting lost.

Purchase books at the Store. Read samples in the Works section. Learn more than you ever needed to know about me in About Marvin. You can slide your white-gloved hand right on past the Media Kit (unless you’re with the press), but Events will keep you up to date on where I’ll be, and News will let you know what I’m up to. Comments are (almost) always welcome and feel free to email me at Contact.

Here In The Bloghouse I’ll serve up general observations and opinions, while also offering specific blogging like book reviews (Open Book), mini movie reviews (Quik Flix Hit) and, with restraint, politics (Swing State).

Thanks for your input so far.

Quik Flix Hit

Cloud Atlas (2012)

Rated R

 

It’s hard to write something short about a movie so long. Three hours of mind-bending, audacious, off-the-map filmmaking.

Here’s the lowdown on the basics: The movie was codirected by the Wachowski siblings (The Matrix trilogy) and German filmmaker Tom Tykwer (Run Lola Run, Perfume). It was adapted from an equally complex, enigmatic novel by David Mitchell. The film details six interlocking, yet time-spanning, stories. Ten of the main actors—including Tom Hanks, Halle Berry, Hugh Grant and Jim Broadbent—play multiple roles (as few as three each, as many as six), which cast them as different races, genders, even synthetic creatures.

A theme of connectedness and reincarnation binds the stories—lovers who face tragedy in one life, might find happiness together in another; sins and hopes of the past ripple through time and sometimes switch places, depending on the era.

While I didn’t follow all of it (no one’s walking out of this with a clear understanding of everything—at least not in a first viewing) I did follow enough to keep me engaged in each of the stories and their characters. For a film with so much going on, I was surprised by how much it cares for its characters. I was left with questions, of course, but felt I got the overall plot and ideas behind each story, even with the constant cutting between them.

I think people who love time-jumping puzzle-plot movies will see this repeatedly, and likely catch something new each time. I think people who don’t like to work too hard in the theater will still say they walked away with favorite scenes vividly recalled because of the beautiful human moments or the striking visuals.

Something’s going on with this film. The directors are reaching to redefine filmmaking, I think. Do they succeed? Time will tell. This movie will be studied and talk about, dismissed and touted as groundbreaking. It’s as if the filmmakers were trying—within theses six mini-films—to encapsulate the whole of human existence, purpose and emotion. It’s trying to document the histories of how we love and create with passion, how we are as cruel as we are forgiving, how we move through time and space while changing those things and ourselves as we go.

This ambitious film might not do well out of the gate (it demands attention and thought), but my guess is, over time, it’s going to be regarded as something of a milestone.

See it | Skip it

Side note: Several Asian characters are portrayed by non-Asians actors, which is in keeping with the film’s reincarnation theme that involves actors in multiple roles, but I wonder if it won’t be seen as offensive, particularly since some of the makeup effects could be seen as playing to stereotypes. 

 

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Sign of the time

Book signings provide a chance to meet supporters in the flesh, to interact with real humans in this era of digital books, digital discussions and digital photographs. How nice it is to shake hands with, laugh with and chat with readers and supporters.

John, at the book signing

Book signings, for me, crystallize those ethereal hours, days, months spent deeply alone creating. Something began in private ends with a very public showing; what was selfishly created becomes relentlessly shared.

Special thanks to my father, John A. Brown, for taking the photos (check them out here) and for all-around dad support, which is ever-present in uncounted moments, but vitally measured in a life made secure.  Thanks always, dad.

It was fun seeing folks I haven’t seen in some time, witnessing the tireless efforts from wonderful behind-the-scenes workers, and meeting new people.

I am grateful, and blessed.

Quik Flix Hit

Paranormal Activity 4 (2012)

Rated R

paranormal_activity_4

Paramount Pictures

I know, I know.

Any movie with the number 4 or higher at the end of its title risks automatic long-in-tooth status. And so it goes with the fourth installment of the catching-demon-terror-on-videocamera franchise.

2007’s PA’s found-footage trope terrorized with a single camera mounted in a bedroom. PA2 (2010) one-upped that film’s voyeur content by tapping into a multiple-camera surveillance system. PA3 (2011) went old-school by bringing the pain via VHS videotape. This latest film opts to zing us with up-to-the-minute digital wizardry—laptop Skyping, cellphone video, even a videogame system’s motion-tracking technology (very cool) gets in on the action.

The producers obviously see human beings getting dragged out of frame by invisible demons as a hallmark of the franchise, but I think it’s become stale.

I should be cheering a movie that prefers slow-burn creepiness over attention-deficit quick cutting, flittering shadows and hushed demonic sounds over gore. I’m continually amazed at how these movies encourage—no, command—you to scour every inch of the frame, seeking out the lurking, about-to-pounce terror even as you’re trying to look away. There are shocks to be had, but by now, it all seems so familiar. And by now, can’t we delve a little deeper into the origin of this family-obsessed demon/witch coven nonsense, or just let it go already?

As I rolled my eyes at the post-credit setup for the next one, I’ve decided then and there to heed my opening warning about titles with growing numbers.

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