by Tony Dayoub
"Daddy's Song"(Harry Nilsson), performed by Davy Jones in Head (1968), directed by Bob Rafelson, choreographed by Toni Basil.
Wednesday, February 29, 2012
Monday, February 27, 2012
TV Review: Luck: Season 1, Episode 5
by Tony Dayoub
After the emotional high points reached in last week's installment of Luck, it's only natural that this week's episode, written by Scott Willson and directed by Brian Kirk, feels a bit like a come-down. But the seeming pause in the action allows for revelatory moments of introspection which will inform the plot developments that arise as the first season heads into its backstretch. Characteristic of such introspection is the opening shot, trained on a reflection of Ace (Dustin Hoffman) before reframing on the man himself. Using mirrors both literal and figurative, this episode reminds us that three of Luck's characters, Ace, Joey (Richard Kind), and Marcus (Kevin Dunn), each bluff their way through many of their personal dealings considering their hidden good nature.
CLICK HERE FOR THE FULL POST AT THE HOUSE NEXT DOOR
After the emotional high points reached in last week's installment of Luck, it's only natural that this week's episode, written by Scott Willson and directed by Brian Kirk, feels a bit like a come-down. But the seeming pause in the action allows for revelatory moments of introspection which will inform the plot developments that arise as the first season heads into its backstretch. Characteristic of such introspection is the opening shot, trained on a reflection of Ace (Dustin Hoffman) before reframing on the man himself. Using mirrors both literal and figurative, this episode reminds us that three of Luck's characters, Ace, Joey (Richard Kind), and Marcus (Kevin Dunn), each bluff their way through many of their personal dealings considering their hidden good nature.
CLICK HERE FOR THE FULL POST AT THE HOUSE NEXT DOOR
Thursday, February 23, 2012
Movie Review: Wanderlust (2012)
by Tony Dayoub
When recent coverage of the Judd Apatow/David Wain comedy Wanderlust turned to the age-old subject of whether Jennifer Aniston had gone topless in the movie, I was sure the comedy was a dud. After all, last time that subject came up, it turned out to be a last ditch publicity stunt to drum up a larger audience for Aniston's truly witless Horrible Bosses. This kind of fruitless bait-and-switch tactic (she keeps her shirt on in both films) is usually good for only a short-term bump; disappointed pervs start slamming a movie that much harder after failing to score a look at the actress's boobs. And for the more discerning of us, reliance on such promotions are a tip-off that a bad movie is desperate for attention, any kind of attention. Before Wanderlust started, one woman sitting behind me commented to her prudish friend, "I hope you're prepared for this. I hear it's got lots of nudity," a distracting disclaimer that's never encouraging. Happily, I can report that, though she was right, the ample nudity in Wanderlust is rightly played for laughs, and any temptation to shock audiences into submitting to the movie's charms by way of Aniston's breasts are largely ignored.
When recent coverage of the Judd Apatow/David Wain comedy Wanderlust turned to the age-old subject of whether Jennifer Aniston had gone topless in the movie, I was sure the comedy was a dud. After all, last time that subject came up, it turned out to be a last ditch publicity stunt to drum up a larger audience for Aniston's truly witless Horrible Bosses. This kind of fruitless bait-and-switch tactic (she keeps her shirt on in both films) is usually good for only a short-term bump; disappointed pervs start slamming a movie that much harder after failing to score a look at the actress's boobs. And for the more discerning of us, reliance on such promotions are a tip-off that a bad movie is desperate for attention, any kind of attention. Before Wanderlust started, one woman sitting behind me commented to her prudish friend, "I hope you're prepared for this. I hear it's got lots of nudity," a distracting disclaimer that's never encouraging. Happily, I can report that, though she was right, the ample nudity in Wanderlust is rightly played for laughs, and any temptation to shock audiences into submitting to the movie's charms by way of Aniston's breasts are largely ignored.
Monday, February 20, 2012
TV Review: Luck: Season 1, Episode 4
by Tony Dayoub
For the past few weeks, those unfamiliar with David Milch's style have probably been scratching their heads, wondering what, aside from the lush visual rubric established by Michael Mann, critics and fans see in Luck. As far as Milch shows go, Luck's characters, at least initially, are a good deal less likeable than, for instance, Dennis Franz's alcoholic, racist Andy Sipowicz was in Milch's NYPD Blue. Because the writer incorporates horse-racing terminology into his trademark stylized slang, Milch-speak as it's referred to, is made more impenetrable in Luck than it is in his period-accurate Deadwood—never mind the surfer-infused dialect of his failed John in Cincinnati. Tonight's revelatory episode, written by Daily Racing Form columnist Jay Hovdey and directed by Phillip Noyce, marks the turning point that should put any detractors' criticisms to rest.
CLICK HERE FOR THE FULL POST AT THE HOUSE NEXT DOOR
For the past few weeks, those unfamiliar with David Milch's style have probably been scratching their heads, wondering what, aside from the lush visual rubric established by Michael Mann, critics and fans see in Luck. As far as Milch shows go, Luck's characters, at least initially, are a good deal less likeable than, for instance, Dennis Franz's alcoholic, racist Andy Sipowicz was in Milch's NYPD Blue. Because the writer incorporates horse-racing terminology into his trademark stylized slang, Milch-speak as it's referred to, is made more impenetrable in Luck than it is in his period-accurate Deadwood—never mind the surfer-infused dialect of his failed John in Cincinnati. Tonight's revelatory episode, written by Daily Racing Form columnist Jay Hovdey and directed by Phillip Noyce, marks the turning point that should put any detractors' criticisms to rest.
CLICK HERE FOR THE FULL POST AT THE HOUSE NEXT DOOR
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