Music: Still listening to that new M.I.A. album

Have you heard the story? British-born Sri Lankan hip-hopper M.I.A. was denied a visa to come to the U.S. for years because of her politically subversive lyrics and ties to guerrilla fighters in her father's homeland.

So, she skipped the studio sessions with American producers - and reportedly Gwen Stefani - and recorded her new album "Kala" in third-world countries and, the AP reports, with a decidedly third-world political perspective and sound.

That back story sure beats Vanilla Ice's "I'm from the streets, yo!" b.s. from back in the day, but does it herald a good album?

Sort of. "Kala" is a mixed bag, and it's taking me a while to get into it. The album's sounds and subjects are more experimental than on M.I.A.'s last release "Arular." There's less hip-hop, more disco and world beats and, unfortunately, more filler on this release. Still, tracks like "XR2" and "Paper Planes" are worth repeat listens. "Boyz" almost recaptures the quirky, beckoning beats and spirit of "Galang" and "Bucky Done Gun" from "Arular," but it's not quite there.

I'm looking forward to decoding the lyrics a little more, since most of the songs seem inspired by political conflicts and the toll they take on people and their lands.

These new songs are different, but they're still good. She'll nail it on the next one. For now, dig on this clip for "Jimmy," one of my favs from "Kala."



Links:

MIAUK.com

M.I.A. at MySpace

AP story on M.I.A.

Photo from The Associated Press

Film: '1408' quick review

In "1408," John Cusack plays a depressed writer trapped inside an "evil fucking room" that's clearly bent on driving him nuts and then driving him dead. Once shut in the room, Cusack's Mike Enslin endures tons of disturbing tricks straight outta Stephen King's big bag of horror randomness. He's left witless by flapper-era spooks, attacked by a mask-wearing slasher and even receives a visit from his dead daughter. Most of what happens in "1408" is pretty creepy (especially the periodic blasting of The Carpenter's "We've Only Just Begun"), but it's not the source material or the script, based on a short story by King, that makes "1408" one of the best King adaptations since 1980's "The Shining." The credit should go to Cusack and director Mikael Håfström.

Cusack fully commits to his role, somehow adding weight to Enslin's reheated back story and the ensuing tale of redemption. He makes you feel his emotional, psychological and physical pangs -- whether you want to or not. Håfström's film is refreshingly gore free, but it's still scary as hell. The Swedish filmmaker's suspense-crafting skills cannot be overstated here. The expository scenes leading up to the frights progress with a haunted air, thanks in part to a great supporting turn by Samuel L. Jackson, but things get really tense once Cusack checks into the suite of horrors. Those who don't suffer from anxiety or vertigo will get a chilling taste of both watching Cusack sneak across a ledge in an ill-fated attempt to escape the room. Things get so nerve-wracking that some might want to look away from the screen (like I did) for a few seconds in the third act.

If gripping suspense films are your thing, then "1408" is a must-see. Be warned though. Like most horror/suspense mash-ups, the ending here is more than mildly ambiguous. What might seem like a Hollywood ending to some might seem bleak to others. The ambiguity doesn't spoil what came before though, and it's sure to spark tons of theories from chatty film buffs.

TV: Veronica Mars (3.11) - 'Poughkeepsie, Tramps & Thieves'

vm 3-11

(Air date: 1/30/07)
The theme of this week’s episode was trust -- when to give it and who to give it to. Apparently, according to Veronica Mars, you can kinda trust hookers looking to evade their pimps. Unfortunately, you can’t trust a semi-reformed bad boy like Logan Echolls.

The teaser and first act of this ep were hilarious and very, very intriguing. There was no sign of Piz, Mac or Wallace, but we did get a whole lot of face time with Max (a.k.a. the Louis Skolnick-looking dude who sells phony term papers on campus). I couldn’t keep up with how many clever Battlestar Galactica references were dropped in the opening scene alone (I lost count at 400 billion). If more Max means more Galactica references, then I say give the guy some credit sequence billing.

Besides giving Veronica a reason to say "frak," Max provided her with the mystery of the week: Track down the hot hooker hired by my friends to seduce me.

I was right there with Veronica in doubting the sudden spark between Max and Chelsea/Wendy/ Fiona (she’s the hooker with a thousand names, and yes, she has a heart of gold). Veronica’s a little more jaded than most -- coming of age while tailing unfaithful spouses for money will do that to you -- but it wasn’t a stretch to think that, maybe, this hooker was playing our Starbuck-loving friend for a fool. He’s desperate and he’s got wads of cash. He’s the perfect mark for a cute hooker-con woman.

But this is Veronica Mars. Things are much more complicated than that. Unfortunately, as the ep went on and the plot continued to coil, things came to a drowsy crawl before the last act hit. It wasn’t hard to keep up with the twists, but after I while I just stopped caring. I’m guessing that most viewers felt the same.

The Galactica references were very funny, and brave, and the plot wasn’t exactly humdrum, but I was a little disturbed by this ep. With the news that VM will ditch season-long arcs in an effort to gain new viewers, one thought kept running through my brain: Name-dropping another low-rated cult TV series and throwing the viewer a million curveballs in one ep probably won’t help raise the ratings. It doesn’t make sense that the powers that be behind VM would want to sacrifice the arcs, which the fans love and have proven to up ratings, but keep all the obscure references and super-dense plots, which undoubtedly alienate new viewers.

Speaking of arcs, we got a great interrogation scene with Keith. Decked out in too-tight fake police duds, he hammered the sanctimonious Lilith House chicks about the night Dean O’Dell died. Yeah, they egged his van and his office, but head Lilith Nish says she egged the Dean’s Volvo alone. Too bad for her then that O’Dell wasn’t driving the Volvo the night he died. Also, Nish’s mouth almost hit the floor when she learned that Keith was investigating O'Dell's death as a murder. I guess that makes her suspect number three, right behind Prof. Landry and Cheaty O’Dell.

I liked the quiet moments between Veronica and Logan, especially the intimate Q&A session at the end (scored by Leonard Cohen). Veronica was pleased and surprised to find out that Logan had never slept with a hooker. He smartly copped to fooling around with that surfer skank in the last ep, but Veronica was cool with it. However, she wasn't cool with Madison (where'd she come from anyway) saying she had a fling with Logan in Aspen. My guess? It might have happened, but Madison is a liar and she likes to push Veronica's buttons. It wouldn't be the first time she tried to screw with Veronica.

Random thought: Why is it that everyone Logan hangs out with or screws, save Veronica, is a shallow jerk (Dick, Mercer, Chip, surfer skank and now Madison)? Logan's come a long way. Shouldn't his friends reflect that journey?

The CW is now streaming this ep online. Also, watch a preview of next Tuesday's ep and consider the question: Is Veronica preggers?

Memorable quote: (Besides all the great Galactica references)
Veronica: (Examining the escort search engine) It's like a Zagat guide for hookers!

TV: Battlestar Galactica (3.13) - 'Taking a Break From All Your Worries'

bsg 3.13

(Air date: 1/28/07)
Battlestar Galactica returned to form on Sunday with one of the best, rawest and most compelling episodes of the season.

Episode writer Michael Taylor -- who penned the great "In the Pale Moonlight" ep of Star Trek: Deep Space Nine -- crafted a tense, edgy story worthy of the series that some say has faltered in its third season. Edward James Olmos' urgent direction only drew me in further as Baltar and Apollo were tortured in very different ways.

The dark-sounding nursery rhyme that opened the first scene was a nice choice. "This ep is something different, and it's not for everybody," the rhyme seemed to whisper. This episode was different, fiercely different, than anything else on prime time TV. It reminded me of why I love this series. At its best, Galactica goes for the mind and the gut, ditching most superficial notions of sci-fi to focus on conflict and character. This time aboard the Galactica, we focused on Dr. Baltar, one of the series' richest and most captivating characters.

It was a smart move to follow up all the Final Five and Eye of Jupiter junk with an economic ep mostly about Balter. It's always fun getting in side Baltar's head, whether we're given privy to his lurid fantasies-turned-nightmares about a slew of Sixes, or diving into even darker territory. It's been obvious for months now that Baltar wanted to be a Cylon so that he could absolve himself of his guilt. It turned out he's probably not a Cylon, but his conscious got a nice rubdown anyway thanks to Roslin and Adama's brutal, mind-altering interrogation method.

Watching Baltar spill his secrets and confront his demons made for great TV. Lost in a drug-induced black sea, he claimed his innocence, questioned the loyalty and existence of Imaginary Six and came up feeling his soul was absolved.

Did Baltar betray humanity? The answer remains ambiguous, and we were given the chance to consider both perspectives. From Baltar's point of view, As Adama pointed out, he's the victim. He was forced to aid the Cylon occupation of New Caprica and was deceived into abetting the destruction of his home world. He never intended to hurt anyone and, in his mind, he did not conspire with the Cylons. From Roslin and Adama's points of view, Baltar is a traitor. He contributed to the attempted genocide and lacked the strength, character and humanity to stand up to the Cylons, allowing many humans to be murdered on New Caprica. He spent months on a Cylon base ship possibly helping the Cylons find Earth. Also, they really really hate the guy and want to see him suffer. At least Roslin did, but she eventually felt sympathy for the man. Adama stayed militaristic throughout. His objective was only to retrieve information that would help the fleet.

It was intense watching an incensed Roslin drag Baltar out of his cell and to the Caprica memorial. The treatment of Baltar was ugly and extreme in this ep, but it was also fascinating to watch. I was glad to see the Starbuck-Apollo arc take a backseat, since the Baltar arc is what's really driving the series right now, but both stories complimented each other well.

Apollo is now in a world of pain. He's in love with Starbuck, but he loves and respects Dee. His marriage is crumbling and he's resigned to drinking with Tyrol and spinning his wedding ring on the wet bar. Sure, having to choose between Katee Sackhoff and Kandyse McClure might not sound like a tragic situation, but Jamie Bamber really sold Apollo's torture and self-pity. I felt sorry for the dude, especially in that tail-end scene where he's trying to patch things up with Dee.

And what about Starbuck? Why did Sam bring up points that will eventually lead to the big question: Is Starbuck a Cylon? I'm not sure about that, but I will agree with Starbuck in that she's a "two-timing bitch of a wife."

Is Gaeta a Cylon? It makes sense. In another searing scene, Gaeta attempted to kill our man Baltar after Baltar whispered something in his ear. He only succeeded in stabbing Baltar in the neck (thank the gods), but ot looks like he's still out for blood. Baltar's definitely on to something here, especially if he's accusing Gaeta of being a bigger traitor than he is. Also, it was interesting to find out that Baltar allowed Gaeta to feed information to the resistance on New Caprica.

In the end Baltar is hauled off to sick bay, again, and Roslin visits Caprica Six in an extended bonus scene that SciFi.com is streaming in its entirety here. It seems Six will only talk if Baltar is given a trial. Roslin seems pleased with that response, since she was already planning to give him a trial anyway.

With Baltar back on the Galactica and major suspicion cast on major characters, Galactica is showing signs of a late season rally.

Memorable quote:
Starbuck: Kara Thrace and her special destiny? That sounds like a bad cover band.

TV: Veronica Mars (3.10) - 'Show Me the Monkey'

vm 3-10

Air date: (1/23/06)
Uh-oh. It looks like someone might have nabbed Veronica's "perfect murder" report and followed it step-by-step to get away with killing Dean O'Dell, who's death was officially ruled a suicide. Sounds like we got us a mystery arc for the rest of this season (I only wish it hadn't cost us Ed Begley Jr., he was great in this series).

So, who's the murderer? After two and a half seasons of series creator Rob Thomas proving he's way smarter than I am, I've learned to stop guessing so early on. NeptuneSite has a list of possible suspects, if you're into that sort of thing.

Instead of depositing my murder theories here, I'd rather dive into what this episode was really about: conviction (personal and political), relationships, and a monkey.

We catch up with Veronica six weeks after O'Dell's death. Veronica and Logan are still split, and she's hired by a couple of campus lab techs to find their stolen lab monkey.

Many primate jokes abound, including a "the case of the stolen monkey" jab courtesy of Piz, but only Veronica Mars can start an ep with such a basic mystery plot like "find the stolen monkey" and end up being one of the most engaging, fun and complex things to watch on TV.

Veronica goes undercover at the hilariously named PHAT (People for Humane Animal Treatment) group on campus to find the monkey nabbers. We get the usual role-playing and sneaky tactics she's used to great effect in the past, but it was obvious and a little disappointing to find that the guy behind the mystery turned out to be one of the techs who reported it. Also, there was a little too much "girlyness" going on in this ep for my comfort level -- and that's coming from a guy who's been watching Gilmore Girls for years. Plus, we had to sit through a few minutes of sad music scored animals right proselytizing (Blech), but those were small prices to pay for a damn fine hour of television that delivered a love interest for Mac, a LoVe reunion and the definition of "Manila."

The LoVe reunion that capped this ep was nice, but I really enjoyed Veronica's earlier scenes with Piz. They have a good dynamic, and I really related to their talk about not dating just to date. It's better to stick with what you like, especially when you know what you like, Piz said. True. Too bad for him then, since that means Veronica must go running back to Logan. Piz is cool, but there's tons more drama and conflict with Logan. I still felt for Piz in that last scene, though (Been there dude). But remember, Veronica's interest was peaked when Parker mentioned that he might have a girlfriend "back home," so the door was left a little open there.

And speaking of Logan, why does he hang around with every scuzzy guy on the planet? He goes surfing with Dick and who do they meet at the beach but none other than Chip Diller, the biggest panty waste on campus. So far, Logan's rolled with a fun loving but brain dead frat boy (Dick), a convicted rapist (Mercer), and now an accused rapist and misogynist (Chip). Come on Logan, I think it's time to find some new friends. Why don't they pair Logan up with Wallace? I've always dug watching them together. At least then Wallace might show up in a few more eps this season.

Besides the last act, episode highlights included the Ted Nugent digs, Veronica's mock rock out to Barenaked Ladies, the Canada room at the "around the world" party and, of course, Keith's scene with Landry at the bar.

What did Keith's "scotch" comment to O'Dell's widow mean? I'm sure he's talking about more than O'Dell's untouched bottle. Like I wrote before, I'm not guessing yet, but I'm looking forward to finding out.

Catch a video preview of the next ep here. Also, the CW is now streaming episodes of Veronica Mars online here.

Memorable quote:
Mac: OK. I get cruelty free, but I'm an animal too. The no bathing thing and the clove cigarettes is cruelty to me.

Gilmore Girls note:
I've decided to stop writing Gilmore Girls episode reviews after watching last Tuesday's ep. I probably won't even follow the show like I used to; it's just become so charmless over the past year. I might start blogging about it again if it gets any better, but I doubt it will.

Update:
This review was picked up for national newspaper Web site syndication!

TV: Heroes (1.12) - 'Godsend'

hiro

(Air date: 1/22/07)
There’s been tons of Heroes news since the series returned with a new episode on Monday.

TV Guide -- who will publish issues with four collectible covers featuring Heroes cast members next Monday -- reports that one of the series’ regular characters is heading for the grave. Also, Eric Roberts will join the cast in an upcoming sweeps episode and George Takei (Star Trek’s Sulu) is slated to guest-star as Hiro’s father. The series introduced another hero online, and NBC.com launched the Heroes 360 experience (more on that after the review).

Heroes did well in the ratings battle against 24 on Monday and has been getting more attention from the press than ever before. It seems America has really fallen for one of our favorite new series. Is all this praise and attention deserved?

Well, yeah dude.

Heroes returned with one of its strongest, most entertaining episodes to date with “Godsend.” We picked up two weeks after the last episode with Hiro trying to steal a sword, Niki frightening jail guards, a comatose Peter having scary prophetic dreams, and a doped up Sylar stuck in a roach-ridden cell.

Continue reading here.

TV: Battlestar Galactica (3.12) - 'Rapture'

bsg rapture

(Please note: I'm sicker than a dog as I write this, but i have a TV Fodder deadline to meet. It's hard to focus, what with my head turning to mush and all. Please forgive the lack of insight or any Nyquil-induced dips into excessive hyperbole. My head, and my brain, are hurtin' bad ... Really.)

(Air date: 1/21/06)
Rejoice. This wasn't a filler ep, nor was it a gimmick ep like I feared it would be. After the slow grind that was "The Eye of Jupiter" and the Internet chatter about executive producer Ron Moore wanting to "shock" fans and kill off a major character, I was glad to see that "Rapture" stayed tense, smart and surprising almost from the outset. Even the supernova effects were impressive.

I was in-and-out for the first few minutes, but my eyes were locked on the blue glow after Helo went against the fleet's best interests and smoked Sharon. This, I thought, is what the series is all about. Galactica isn't just a simple political allegory set in space as many glossy magazines might have you believe -- it's about people and what they do to survive. This idea was played out perfectly in this ep and it was underscored in almost every plot thread.

Was Adama ready to nuke the planet to keep the Cylons from finding Earth? His actions prior to this would make me say no, but the opening scenes were still tense. This is a series where people are changed by circumstance and are sometimes governed by impulse. Even Adama must make sacrifices to survive. I was glad to see the nuke standoff ended soon, since there were many more plot points left hanging from the last ep, including D'Anna and Baltar's vision quest, Sharon's plan to find Hera and the fate of Starbuck.

How bad was Starbuck's crash? Bad enough to make me think "Man, Katee Sackhoff looks like crap." We catch up with the impulsive Kara Thrace sitting inside the smoky crash site with puffy bruises and sliced hands. It's fascinating how this series continues to cut, bruise and bleed its leading characters on screen. War is hell, and top billing won't save anyone on Galactica. The survival theme was played out here with Dee and Starbuck reluctantly working together to pilot the beaten ship back into orbit. I'm not a fan of the darker Dianne and Sam dynamic now hovering over Apollo and Starbuck, but I like the way it was played out here. Seeing Starbuck and Dee help each other and seeing Lee and Anders come to a shaky truce in the name of survival felt realistic -- miles away from the soap operatics that were on display in "Jupiter."

The question of "Will Sharon (Athena) betray the fleet?" weighed heavily in the first half of this ep. Grace Park really sold the emotion and ambiguity here, leaving space for the thought that, maybe, she'll side with the Cylons and deliver the goods on Galactica. Like Roslin warned, we still don't know if she can be trusted. But it seems Sharon only wanted to ensure her family's survival and -- in an applause worthy twist -- Caprica Six, who's now stuck in Galactica's brig, helped her do that.

Baltar -- who's looking more and more like Ron Moore in every ep -- is also, I assume, now stuck in the brig. It was great fun watching him subtly manipulate D'Anna to ensure his own survival and answer his burning existential questions. Is he a Cylon? i hope not. I'm not sure about most fans, but I'm rooting for the little weasel to come out on top somewhow. Maybe it's just James Callis' bizarre line readings and facial expressions, but I always look forward to the Baltar scenes, especially when he's on edge, as he was in this entire ep. Capping his mini-arc off with the death of D'Anna was a good kick in the gut.

I really wasn't sucked in by all the mythology people were babbling about. It was hard to make sense of it all, especially with a medicine head, but it seems the characters didn't know what to make of the Temple of Five or the Eye of Jupiter either. What did it all mean? That and some other very intriguing questions remain:
- What will come of the Chief's spiritual awakening?
- Why did Tigh put the wounded "civie" in the brig?
- Who is the Cylon that D'Anna apologized to? Is it Starbuck -- she who scribbles prophetic circles?

I can't wait to see what' will be done with Six and Baltar. It's about time they got back on Galactica and off that eerie base ship. And is it just me, or is everyone else glad that we won't have to endure that awkward crib on the base ship visual anymore?

SciFi should have the ep up for streaming, not to mention Ron Moore's podcast commentary, soon. Next week: Will Lee choose Starbuck?

Memorable quote
Tyroll: (To Baltar right before he knocks him out) "Welcome home, Mr. President."

Comics: X-Factor No.14 review

x-factor_14
Originally uploaded by gold_teeth.

In the first-page primer for X-Factor No. 14: "Multiple Issues," writer Peter David hilariously sums up the origins of this latest incarnation of X-Factor in his trademark self-aware and self-effacing style.

"...The X-Men broke up but were later reunited as X-Factor, but then they stopped being X-Factor and a bunch of guys who no one was that interested in became X-Factor. It was eventually canceled. But then Andy Schmidt got the bright idea to do a limited series based on Madrox, called in Peter David to write it and Pablo Raimondi to pencil it, and it sold real well and now here we all are," reads David's history of, arguably, his best series yet. (If you want a weightier version of the book's evolution, go here).

Much like Buffy creator Joss Whedon, David's one of those writers who can take a story, in this case a comic book, full of outsiders or second-tier heroes and make it spark with dense plotting, humor, great dialogue and a real love for the characters. The noir twist that's going on in this book, underscored by Raimondi's sleek penciling and the almost monochrome color pallete, is a welcome bonus.

"Multiple Issues" smartly deals with the fallout of a few big events from the last couple of issues. Told in a gumshoe flashback style, Jamie Madrox starts out dealing with the literal cuts and bruises he's collected from Siryn and Monet and ends up on a personal quest to quiet his existential demons.

After kicking a few back with Rictor -- and revealing that Monet's a real tiger in the sack -- Madrox heads to the Central Park Zoo and calls in Dr. Samson to shrink his head a bit. Enlightening words are exchanged, monkey poo is tossed and Madrox decides to pull himself together, literally, by collecting all the dupes he's sent out into the world.

I really liked the conversation between Madrox and Samson here. The spacious panels really sold the reflective tone, and I like the idea that maybe Madrox's decision to send out his dupes wasn't a good idea after all. the decision has certainly has lead him to be a more complex character, but I'm looking forward to following him on his dupe-collecting journey, even though it means he might leave his teammates behind.

Finally, we had some unexpected good news for the rest of the team. Thanks to Layla's interference (she really does know stuff, you know), Monet and Siryn make up, girlie style, and head to Paris to do some retail therapy. Funny stuff.

Guido bluntly confesses to Mrs. Buchanan about accidentally smoking her husband while under Singularity's mind control. She reacts with understanding, and David lays down the workings of a great, compassionate character with a nice knack for eloquence. I hope we see more of Buchanan in issues to come.

Now, what to make of Madrox's run in with Val at S.H.I.E.L.D? And who kidnaped him outside the offices? And what about Pierto and Rictor? Will one influence the other to change his tune? Big time X-book fans probably already know the answer to this, but I'm a newbie here, so I'm still very intrigued by the possibilities.

Once again, David and crew delivered a muted, funny and smart issue that's more invested in character instead of world-ending arcs or, well, tights. For me, X-Factor remains one of the most compelling superhero books on the shelves.

Memorable exchange:
Madrox: I read in a few decades, polar bears might be extinct 'cause of global warming, courtesy of maknkind
Samson: How do you feel about that?
Madrox: It sucks. For one thing, what'll they use to sell Coca Cola?

Links:
Peter David's blog

Marvel's X-Factor page

Film: Children of Men review

children_of_men
Originally uploaded by gold_teeth.

(Cinemark Sunrise Mall, Brownsville, TX; 1/7/07)
It’s hard to single out one moment in director Alfonso Cuarón’s Children of Men that doesn’t feel urgent, tense or, more frighteningly, very plausible.

Set in a dystopian, war ravaged future Britain where no child has been born for 18 years, the film effectively draws a straight line between the bleak, bombed-out future on the screen and current events, including the war in Iraq and the crackdown on illegal immigration.

“This is where we’re heading,” Cuarón is trying to say, but Children of Men, based on the book by P.D. James, is remarkable not because of its social commentary, but for the way it doles the commentary out.

Cuarón — clearly a follower of the “show don’t tell” philosophy — has crafted a thrilling technical achievement here, creating a gray, violent British police state full of visual exposition that shows us everything we need to know. We’re not told the world is in chaos, we see it in the newspaper clippings with wartime headlines, the downbeat TV news reports about casualty counts and terrorist bombings, the political graffiti and in the faces of caged refugees on the street.

Corporate structures and bureaucratic buildings are all that stand intact — it’s hard times for sure. It’s anyone’s guess who started the war or who’s on the right side, but that information isn’t really pertinent to the film’s sim-plistic story.

Clive Owen cuts a decidedly glum figure as Theo, a former revolutionary turned beurocratic drone who now kills time by getting high with an aging pot dealer (played warmly by Michael Caine). Theo’s revolutionary past comes back to tap him for a favor in the form of his ex-wife (Julian Moore), the leader of a political extremist group. Moore’s faction is protecting a young woman (Claire Hope Ashitey) who, somehow, is pregnant. It’s up to Theo to use his political pull to get the pregnant woman, named Kee, to another political group called The Human Project. There, supposedly, Kee will get the medical treatment and care her and her baby will need to survive.

Children of Men is a surprisingly economic film of ideas, but the film’s driving story is too simplistic. While the world around them is burning with conflict, the film’s main characters follow a standard road movie formula. There are a few shocking scenes along the way, but if you’ve seen the trailer, you know where the film’s heading.

Children of Men is most effective when the turbulent world outside comes crashing in on the main characters, leading them into chaotic and shockingly realistic scenes of guerilla warfare and terrorist action. There’s a tense, stunningly shot stretch in the second half of the film in which Owen runs through an urban war zone, evading sniper bullets while those around him fall bloody to the ground. The scene rivals anything I’ve seen in recent war films, including the opening shots of Saving Private Ryan.

There’s much to recommend here, including good performances by the cast (especially Hope Ashitey), great music and profound cinematography. I only wish the main story would have taken a few more unexpected turns. Maybe then the film would have held the gripping pace it sometimes achieves.

Links:
Official Children of Men Web site

Trailer

Alfonso Cuarón at imdb.com

TV: Wil Wheaton reviews Star Trek: The Next Generation premiere

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Originally uploaded by goldteethblog.

Former Star Trek: The Next Generation cast member Wil Wheaton (Wesley Crusher) has been posting great reviews of old TNG episodes for a while now over at TV Squad. Today he posted a revealing and damn funny recount of the series premiere "Encounter at Farpoint (Part 1)."

Wheaton failry criticizes the ep in which, he writes, " Q accuses humanity of being a bunch of shitcocks."

The review also features this brilliant, self-effacing observation:

"Wesley interrupts them to explicitly point out how mysterious the whole thing is. (It's right around this moment, according to historical data and polling research, that the Kill Wesley movement got its first member, though scholars are unable to agree upon who it was. It has been narrowed down to a single male virgin, approximately age 24, living in his parents' basement in the American Midwest.)" Read it all here.