Swedile at the Movies: The Day the Earth Stood Still (2008)

These days it seems I’ve been watching nothing but remakes, reboots or adaptations. And say what you will about Hollywood losing all creativity, and I may even be inclined to agree; it would be nice to see something completely original that turned out to be awesome. However, on the other end of that spectrum, I love the idea of remakes; there’s a certain sense of expectation coupled with new technology, new filmmaking techniques and schools of thought, and classic tropes that add sort of an epic quality to certain scenes. When King Kong took to the Empire State Building in the 2005 remake (a very good, if a very long, movie), we all got collective chills. This sort of experience redeems the concept of the remake as far as I’m concerned.

Does that mean that I like all remakes? It certainly does not. Most remakes are done for the sake of remakes, and either fall short of the original motion picture, or change too much, or miss the point, or just plain suck. Is this the case with the recent remake of the Sci-Fi classic, The Day the Earth Stood Still? Follow along as I dissect where this movie wins, fails, or just plain changes for no real reason.

As always, my Batman & Robin Gradation Scale applies.


Story

We suck, apparently. Klaatu, an alien representative of a group of mighty space civilizations, comes to Earth to give us our final warning about our self-destructive, wasteful ways. Seeing as we treat the powerful alien and his giant robot companion G.O.R.T. with fear and Air-to-Land Missiles, he decides we’re not worth his time and initiates a doomsday process to kill us off before we kill the environment. It’s left up to astrobiologist Helen Benson and her unimaginably cynical stepson Jacob to convince Klaatu we’re not so bad.

Any Science Fiction buffs reading this will undoubtedly pick up on the difference between this film and the classic 1951 version. The original film had a very anti-war message, with Klaatu visiting us not to keep us from killing the Earth with our gasoline and our Red Bulls, but rather to keep us from pointing our brand-spanking new nukes up into the stars. Much like the original film was a response to Cold War tensions at their height, this film is a response to the ever-increasing threat of Global Warming. I really don’t mind this. It’s better and more believable than making it focus on something like the “war” on “terror,” which has been too prevalent in our media of late. The war message made sense back in the 50s, especially with the advent of nuclear weapons. It would be hard to make that message contemporary today. I feel for the people who complain that this takes on a more “green” message than it’s predecessor, but if you like the war stuff, watch the original. As far as making this movie feel contemporary with us facing a legitimate threat, this film basically succeeds.

I also like the ending moreso than the original *ducks as a glass bottle is hurled at him*. The original is classic, and it truly said something about the mentality of the time and what the filmmakers felt needed to be done to prevent us from blowing up the world, but from a purely cinematic and narrative standpoint, it’s somewhat anticlimactic. Klaatu takes the whole movie to tell us if we don’t behave, robots will kill us. In this new film, Klaatu gives us no such warning. He is planning to exterminate us. And even though the day is saved (of course it was, it’s Hollywood), he leaves the world in such a way that it would have massive implications on our society. This film actually makes humanity suffer some consequence for its actions. I think this works better as the ending to an alien invasion/extermination story. Though I must admit that this, too, was executed somewhat anticlimactically. Still, I’d say the story is fairly solid; it retains enough of the original while also being somewhat new, fresh, and believable to a certain degree.


Acting

I must say, Keanu Reeves was an inspired choice to play Klaatu. While his deadpan style of (or, as some would say, lack of) acting in most movie roles make him seem wooden and untalented, it works to his favor when he’s playing an alien sent to examine Earth on a logical and utilitarian level. He’s perfect, and the movie wouldn’t have been anywhere near as decent had he not been in it. He brings the character to life. Also, Keanu Reeves speaking Chinese in this same dreary voice was hilarious.

Kathy Bates plays one Regina Jackson, the Secretary of Defence of the United States. When I saw this character in all the previews, I thought to myself, “oh great, here’s the token bitch that’s just going to be evil for the whole movie for no real reason.” But I must admit, I was largely surprised with how subtle the character was. I mean, don’t get me wrong, she was a great big bitch. But she also clearly had a human side to her. She cared about the world and saving it, and even trusted the female lead to talk Klaatu out of killing us instead of just bombing him (that was, apparently, the unseen President’s job). She was largely unlikable as a human being and is an example of the destructive people Klaatu believes us to be, but much like he discovers in the entire human race, she has another side to her, to the point that I couldn’t consider her an antagonist. She’s a delightful surprise, guys.

John Cleese was in it, and he was great…for the five minutes of screen time he got. The hell?

Everyone else was mediocre to bad. GOD, I hated that little kid. When someone like me says, “Man, that kid’s really cynical,” they’re TOO cynical. Also, I disliked the subplot that he and Jennifer Connelly don’t get along. It was boring and entirely forgettable. Damn you Hollywood, and your useless subplots!


Special Effects

There wasn’t much in this field, what with the primary character being a humanoid in a suit. But what they did have was pretty damn good. I liked that the aliens used something non-mechanical to travel in. It’s a nice change of pace, and sort of works with their whole environmental message; their spaceships are clouds and their spacesuits are placentas. How much more carbon neutral can you get?

But the cream of the crop was Gort. I loved this guy. He’s a giant walking granite slab of kill your ass. When he first appears from out of the sphere and starts immediately ruining our shit was probably my favorite part of the movie. This thing meant business. It retained the essence of the original character (prop?) while at the same time removing all the campiness and replacing it with awesomeness. Also, this has nothing to do with the SFX, but I’m certain Klaatu uttered a gargled, alien “Klaatu Barada Nikto” to Gort in that first scene with him. Classic.

But besides this, it’s not an effects powerhouse, simply by the nature of the film. It’s got an alien swarm destroying Giants Stadium (oh no! However will society go on without Giants Stadium?*), but that’s about it. Still, the stuff they do use looks realistic and awesome enough, so you won’t be disappointed with regards to quality.


Music

Not really that good. Not bad, per se, but unmemorable. The original film had a classic 50’s Sci-Fi score. How hard would it have been to go with that? It would have been epically awesome. Or maybe they did, but Tyler Bates messed it up so bad we didn’t notice. Which is just as bad. However, the music played over the first part of the credits was cool. I just wish I could find it.


Product Placement

Noticeable, but bearable. There were just a few pointless shots of World of Warcraft and Snickers, and the film clearly had its mouth wrapped around Windows Vista’s proverbial schlong. However, I had really bad “Mac & Me” shellshock when Klaatu requested he be taken to McDonalds (“Take me to your McLeader!”). Thankfully, though, he did not don a bear suit and dance the Charleston on the countertop.


Direction

This is another one of those movies that fails to adhere to the auteur theory. I couldn’t really get a sense of the style of the director, Scott Derrickson. However, in checking Wikipedia, I see he also directed The Exorcism of Emily Rose, and I can say at least this; this film is equally as foggy. There’s never really a clear day in the whole film – it’s either raining or foggy or drab or swarming with tiny alien locusts. It’s not until the end, when the Earth is saved in more ways than one, that we really see a clear, quiet day. So I’ll give you that, Derrickson; you’ve employed a certain amount of symbolism that conveys the green message all that much more (which will make sense to you, the readers who have not yet seen it, when you see the ending yourself – so sue me for trying to be relatively spoiler-free this time!). Kudos. Also, kudos to your earlier, forgettable exorcism movie for being the stepping-stone to this realization. It had to be good for something.

Otherwise? He tells his story and it’s coherent, and while the rest of the world complains that there is no ending, I will defend you; there is an ending, it’s just terribly anticlimactic. But I get where he was coming from, so I’ll say this; his work on this was decent, and in very few moments, even chilling. Which is more than I can say for some of Fox’s recent body of work.


FINAL SCORE:

2/4 – Mediocre, with no major flaws or successes


This film, I think, is a worthy enough attempt at a remake of a classic. It doesn’t try too hard to amp up its source material or go crazy with the special effects; it mostly stays true to the overall feel of the original. It falters in a few places, but in my opinion, actually improves on some others. Overall, when I watch this, I think to myself “I’m watching a version of The Day the Earth Stood Still,” which is a basic success in my books. However, despite all this, the film is ultimately forgettable, with its cast of mostly sub-par secondary characters. It’s pretty bad when I consider the performance of Keanu Reeves one of the best in a film, even if it is because of some truly inspired casting. I still hate that kid.

The true test of this movie will be if its message will stand the test of time. According to Wikipedia, the original film was only moderately successful at the time of its release. As with all classics, it took a lot of time for it to be revered as much as it is, mostly because it said something truly poignant about its time. Will the remake fare as well? Does it speak of something equally poignant about us today? Only time will tell. I, however, will tell you that strictly from a filmmaking perspective, it’s worth a trip to the multiplex if you’re into this sort of thing. And remember, KEEP WATCHING THE SKIES!

(…oops, wrong movie)

- Silent G

*this joke was co-written by the talented Alex Colgan over at Endoscopy: The Musical (get back to writing, Al!)

Swedile in the Classroom #6 - Annotated Bibliography

1. DeviantArt
http://www.deviantart.com/

I’m starting with DeviantArt (a.k.a. “dA”) because this is the most well known art community website, with over 8,000,000 users to its name. Users have all sorts of options open to them; they can post art, journal entries, polls, comments and so on, and they can watch other artists, and DeviantArt will alert you when those artists have updated with art, journals, or comments to you. Further, you can add other people’s artwork to your “favorites” gallery, so you can always browse your favorite art.

The way the website is put together is rather simple to follow, given a little time to get used to it. One aspect that is very useful is that the menu bar up at the very top never changes or moves. From anywhere in the site, you can click to go back to the main page, or back to your individual gallery page, or browse for any given topic, and check your messages. Also, galleries are all formatted roughly the same way, so that one never has trouble finding someone’s gallery, favorites, journal, etc. Even comments are done in such a way that it’s clear who is talking to who (when you reply to a comment, your comment becomes indented over a little bit, and any comments made after that one are also indented, so keeping track of a conversation is simple). Overall, the navigation of the site is designed to be very natural and easy to use.

Lastly, the site’s overall design is very monochromatic. The colors of the site range from white to a grayish beige color. The question has been raised in class as to why do so many art-themed sites seem to be designed with very little color. I think this is a case of smart design; when the website showcases art, the site itself can’t be too colorful, or else the reader will find it difficult to tell the difference between the art and the site. When sites like DeviantArt choose a color scheme that is very drab, it’s actually a rather smart way to draw the attention to the art itself, and to make the art, navigation, and the website design separate. In as much, DeviantArt succeeds where a lot of other sites fail.

2. TegakiE
http://www.unowen.net/tegaki/index.php

TegakiE’s content differs from the majority of art community websites; instead of uploading an already-completed picture onto the site, you draw directly onto TegakiE with a tablet. This sort of interface is commonly known as ‘oekaki,’ which is the Japanese word for ‘doodle.’

In regards to website design, it suffers visually for being far too drab and simple. It’s merely a white background with Times New Roman font for the links, the only color besides the art itself are the ads. Also, the navigation is somewhat tricky in that while the menu never moves from the right hand side, the options often change depending on what kind of page you choose. This can make it very hard to navigate, especially when you’re new to the site. It gives the impression of being a very amateur website, which is a shame, because it’s really very innovative in other ways.
One major way is the way the community interacts. There’s almost no typing involved in the site; you pretty much literally draw everything. The most interesting example is the comment system. Under each finished drawing is a small canvas box that acts just like the area you draw your entries on (except smaller). People draw their comments instead of write them, and they can do pretty interesting things with this technology. Whereas on a site like DeviantArt, the art never expands or changes beyond the finished submitted piece, while here, other members can add on to the drawings, or bring a new dimension to it, or even start a narrative. Thus, TegakiE is an artist community in a much more interactive sense, where each artist can add something to any piece of art and help to create something new.

3. iScribble
http://www.iscribble.net/

iScribble is another oekaki-style website, where artists can join group drawings and all draw on the same canvas in real time. A user logs in and enters a chat room, usually with a theme like playing a certain game or drawing a certain subject, and you can chat while drawing with others at the same time. It’s a step further in the collaborative art interaction that I mentioned above. It’s like an electronic version of doodling on a fellow artist’s sketchbook.

Sadly, as much as the content of iScribble is amazing, the website design is proportionally awful. The home page is a wall of text with little icons and ads and a list of users currently online. The link to enter the site is hidden in this text near the top of the page. This first click leads to a login page, where you log in and then click to go forward, and assuming the site does not have an error logging in, you’re brought to another page full of text. It is only when you click the text boxes on the right of the screen that you are finally in view of any actual art at all. This takes far too long, and will cause lots of first time browsers to lose interest in the site and move on, which is a shame considering what you can do there.

Furthermore, apparently the site also allows for individual artists to upload pieces they did on their own. However, according to their FAQ page, new users can’t upload their own images. They require more veteran members to upload the images for you. You’re also not allowed to use options like “undo” until you’ve proven to the site administrators that you’re serious about the site. This is just an awful idea. It discourages a lot of people away from the site, and considering their revenue comes from advertisers (considering ads are snuck in so sneakily around the whole website), I have no idea why they would scare away people who would see the ads, raising the amount of money they can ask for. The whole website is designed poorly, and their actions seem counterintuitive to their own interests. It’s a shame that such a neat art program is buried in this mess.

4. SheezyArt
http://www.sheezyart.com/

SheezyArt is just one of a great deal of art community websites that has chosen to adopt, more or less, the DeviantArt style, making it basically a carbon copy. Like dA, you can upload pictures, make comments, add favorites, and so on.

However, in attempting to replicate DeviantArt’s success, the site comes off as amateurish. They move certain things, like the menu bar, into different areas as to not come off as looking too much like dA, but this takes away somewhat from the natural placement of the menu bar in the top left corner of the website as on dA, since people tend to start looking in that quadrant of a website. They also move the user icons in comments from one side to the other for no real reason (and they abandon the comment indentation concept in the process). The overall layout of DeviantArt gives it an impression of being very open and expansive, but somehow this site feels very closed off and lonely.

However, it does have an interesting feature over dA in the form of personalized gallery homepages. While everyone’s gallery page in dA shares the same drab color scheme as the rest of the website, with some room for personalization to subscribers (they can alter the appearance of their journal), SheezyArt is capable of altering the appearance of the whole page; specialized backgrounds, textured textboxes, background music, etc. However, despite this slight innovation, SheezyArt comes off as a pale imitation of the much more successful DeviantArt, and is rather a waste of time.

5. The Computer Graphics Society
http://www.cgsociety.org/

The Computer Graphics Society (or “CGSociety”) is a community intended for more professional/serious artists. Unlike DeviantArt or the others, where anyone can join at any time for free, CGSociety is devoted to artists in the field of digital imagery and such. The site offers industry news, and feature stories about successes in the field (such as a feature on the Pixar short “Presto”) that are very well put together. There’s even an option for artists to upload their own work to be seriously critiqued by their colleagues in the field. It is, however, in this department that the site begins to fail.

The format this site chose was that of a message board. The kind of message board found all over the Internet. I feel this is a severe misuse of talent. This website looks very nice; clearly, a lot of time and money has been put into it. This is a website populated entirely by people working in the medium of computers. I find it hard to believe that the best method they could come up with to showcase art is a message board. It’s unbecoming of the community’s talent to use such a method. It’s a shame too, because a lot of the art is incredible. But to post it, an artist has to upload it through a third-party hosting site like Photobucket, and then copy the link into the post. People can comment, but no one can add it to favorites or do anything unique with it. It seems like a very impractical method for a professional art site to adopt. A community like that could do so much better.

6. ConceptArt.org
http://www.conceptart.org/

ConceptArt.org is another site that focuses heavily on the serious/professional art community, where members are often studying art or working in that field, and post seeking serious feedback from serious artists.

This site is more like the sort of professional community I’d imagine would look like; the site design is stunning, with interesting yet muted backgrounds, drab colors that aren’t too monotone, instead connoting a more earthy feel, and users artwork on the front page in small thumbnails, arranged in a mosaic style. It highlights the artwork while looking good in its own way. A very impressive format overall.

Sadly, this site, too, uses a forum interface for most of the postings, but it comes out better than the CGSociety’s forum. The menu bar remains at the top perpetually, and this menu bar includes the mosaic artwork display, so the forum looks almost like a part of the site, instead of feeling like you were redirected to a forum. Also, instead of individual topics being opened for each and every piece of art, here they are divided into categories (like finished work vs. sketches), and an individual starts each topic, and he or she puts all their art from that category into that topic, updating it with new work as they go. So for an art website that uses a basic forum interface, they’ve adapted it well to their audience.

Besides this, there is still a more traditional “gallery” application, where each of the thumbnails in the mosaic link. So for those who prefer the forum, that exists for them, and seems to be in the most use. For those who prefer a gallery interface, that too exists for them. This site is an example of a true artist community; by artists, for artists, made by artists, and populated by artists.

7. Elfwood
http://www.elfwood.com/

Elfwood is a little different from the rest of the sites in that it is based very heavily on a theme, or particular subject of art; in this case, fantasy and science fiction. It operates much like DeviantArt; you can upload pictures and writings, people comment, you can browse other art, etc, all the while not mimicking dA’s web design. The only difference is that that you’re only allowed to upload things that pertain to fantasy or sci-fi.

The navigation is fairly good. The menu bar remains forever on the left side of the screen, and when you click on an option, it takes you to the page, but a submenu appears underneath the selected menu option. For example, if you selected “Rules,” extra options will appear underneath with specialized options within the “rules” category, such as “10 Commonly Sense Rules.” The overall layout and design likewise remains the same throughout. The only real issue I have with the site is it is yet another forum-based art community, but I’ve already spoken at length about the subject, and seeing as this website seems to be more low-budget than CGSociety or ConceptArt.org, it is more passable as an issue.

Where the site really shines is in its visual language. Everything about the colors and textures on this site combine and connote the feeling of a fantasy realm where knights fight dragons and there are damsels to be saved. The background is a stone texture; the menu options to the right are written on what look like wooden planks; thumbnails of stories appear on papyrus scrolls; even the title font is a calligraphy style reminiscent of the middle ages. Anyone visiting the site for the first time would suffer from no confusion as to what the site is about. This is the sort of imaginative web design I spoke of earlier with the previous entries; the designers of this site really knew how to speak to their users.

8. 4Chan
http://www.4chan.org/

This is an entirely different sort of “art community” than I’ve discussed before. It’s not so much an “art” community than it is a community of random silliness and the place where Internet memes (running jokes, basically) are born. However, it does post images, and users do have a sort of community, so here it goes.

The overall design of the website is actually very simple. The front page is divided into sections like “What is 4Chan,” “Boards,” and “Recent Posts,” and each one is color coded with a tinted white background. This color-coding makes an otherwise daunting wall of text easier to read. Also, the glut of images that make it onto 4chan daily are divided by categories (video games, anime, nature, photography, and much more), which also makes navigation somewhat easier. However, this is where the positives of the site end.

While some sites are denounced for their wall of text, this site is pretty much a wall of images. While it is true that they are divided into categories, the sheer magnitude of posts make it impossible to organize, and browsing consists of just going through post after post after post. The comment system is also unattractive to the eye, looking like they orbit the photo, jutting out in strange ways, to make following it coherently a small job, instead of being natural.

The worst thing about the site is that anyone can come on and upload any image they choose. Any. A large majority of the posts made are not work of the posters, but rather taken or stolen from somewhere. I’ve seen dozens of art originating from DeviantArt end up on the site, likely not posted by the original artist. 4Chan isn’t a community in the sense of it being populated by like-minded people who come together and share their work. They just post whatever they want, taking other’s hard work and exploiting it. 4Chan is the epitome of bad art communities, and it’s not worth anyone’s time.

- Chris Muise

Swedile in the Classroom #5 – Is Google the Second Language?

In regards to Robert K. Logan’s essay “Making sense of the visual – is Google the seventh language,” I feel I must mention something I’m usually reticent to voice when I read other articles (in keeping with the idiom “remain silent and be thought a fool; open your mouth and remove all doubt”): This guy’s writing is pretty bad. I mean, it’s not incoherently bad, but it is clear that somewhere along the line it was not edited or peer reviewed. Slight grammatical errors abound and punctuation is missing. There are at least a few sentences like this one, where it seems he restarted mid-sentence: “There is another project at the University of Toronto there is a project exploring the economic feasibility of using a robotic page turning device to digitize books.” It boggles the mind (no, it “googles the mind” – man, how corny) that someone who is not only trained in English, but is actually writing about language, could not notice such glaring errors.

But enough about Mr. Logan’s poor writing in this particular example; let’s get to the meat of the paper. He claims that Google has become the 7th language (the previous six being speech, writing, math, science, computing, and the Internet), in that search engines have their own set of syntax and semantics. I’m not entirely sure I agree with this, mainly on the grounds that he does not differentiate between the Internet and Google. The criteria he gives for being a new language is that it has the compendium of pretty much all human thought and knowledge is Google’s semantics, and its “search grammar” as its syntax. But the Internet itself has this same complete world knowledge, and Google is merely an extension of the Internet; it is part of it. Logan never really provides the syntax of the Internet, so can we assume that it is similar, if not identical, to that of the Search Engine? I think Logan may have jumped the gun here in calling Google the seventh language.

However, he did bring up something interesting I would like to address. He mentions that before hominids became verbal (in the sense that they began to use a language of some sort), we relied on what he calls “mimetic communication,” which consists of facial expressions and grunts, screams, and other sounds that aren’t words. We still use this form of communication, but in conjunction with words, which enhance the two together. However, when writing, a lot of this mimetic language gets lost by virtue of the fact that we remove the direct human interaction from the equation. But in recent years, electronic media has allowed, almost spontaneously, for this to resurface in text. I am, of course, referring to the emoticon =D. By adding little representative glyphs to our text in things like instant messaging and emails, we add a whole new element of communication that was not there before. Take for example this passage:

Ok, sure, do what you want.
That single line could be taken many different ways, given the context. But by adding just a few extra keystrokes…

Ok, sure, do what you want >:(
…it’s become painfully evident that I’m mad about something, and the whole meaning of the text changes. These emoticons allow us to regain in textual communication what we had lost before; body language can, at least rudimentarily, be recorded in text. Whether this evolves into the true “seventh language,” I don’t know. But we’ll certainly see.

- Chris Muise

Swedile in the Classroom #4 - Colour as a Semiotic Mode

Gosh, I wish I had saved my Synesthesia discussion from my last Swedile in the Classroom for this blog posting.

Gunther Kress and Theo Van Leeuwen bring up the concept of color ‘grammar’ in their essay “Colour as a semiotic mode: note for a grammar on colour”; the idea that colors, as a mode of imparting information, can be structured and have set rules. And I don’t know if I can buy that. Color is so arbitrary and so personalized; it’s nearly impossible to have a set meaning for any one of them. Even in the essay itself, the authors give contradictory emotive descriptions of just about all, if not every, color they mention. I myself was put off almost initially when they suggested that “red is for danger, green for hope.” While I can agree with the assessment of red, I’ve never once associated green with hope. I’ve associated it with everything from the placidness of nature, due to the environmental conditioning that green goes with nature, to the awesome, exciting action of giant robots, due to the mechas in the series Gurren Lagann being powered with the green effervescence known as “Spiral Power.”

VS.

To assume any one thing about any one color being understood universally, even things that would seem pretty obvious, isn’t feasible, since everyone experiences the world differently. Plus, the social meanings of color changes with the zeitgeist. Take for example the story of Lucky Strike cigarettes.

In the years before World War II, the Lucky Strike cigarette company felt that women were not buying their product, and decided to hire Edward Bernays as a consultant. He told them that the reason women were not buying their cigarettes was because women did not like the color green. At the time, the green was their signature color, and they refused to change it. So instead, Bernays orchestrated an ingenious media campaign, buying up space in newspapers and having fake articles run saying “green is in.” And what happened is he changed the entire fashion world that year, and what’s more, he totally changed the perception of a color.

Colors change meanings in society all the time. Right now, pink denotes “Breast cancer awareness.” For me, it always used to denote girls, specifically children. Growing up, pink was a girl’s color. Now it means something else. And there’s the anti-bullying movement now, too. It denotes that. I just think colors are too personal and arbitrary to be able to come up with any set rules for them.

However, I do agree with the last point in the article, specifically the differences in organization between the ad and the brochure’s color palette (although I wish I could have seen the colors themselves). The colors themselves, I think, were not as important as the way they were contrasted with each other. If you take a sampling of colors and present them one way, people will perceive the message of the colors differently than if they’re organized in another way. I think this is really the only true form of color “grammar” we can hope to reach; not in the colors themselves, as they are too volatile to have a universally agreed-upon meaning, but in the organization of those colors, and how it can steer the reader to reading a text or understanding a message the way the designer wants it to be understood.


- Chris Muise

P.S. – Readers, you should look up Edward Bernays. This is the man responsible for advertising as it is today, and also for things like women smoking and a coup in Guatemala. It’s well worth your time.

Swedile at the Movies: Quantum of Solace

Hello, reader. This is your movie review of Quantum of Solace, should you choose to accept it.

(Okay, I promise I won’t do that a lot)

The buzz about this movie has been pretty polarized; people like Harry Knowles from Ain’t It Cool News loved the hell out of this movie, whereas people like Roger Ebert (EBERT!!!) thought it was dribble. There seems to be no middle ground on this one. Well, having seen it, I’ll see if I become a militant hater, an exuberant lover, or if I can discover mediocrity once again!

As always, my Batman & Robin Gradation Scale is applied here.


Story

Quantum picks up shortly after the previous movie left off. We’re treated right away to a car chase, which is good I guess. Bond, M and MI6 learn from Mr. White of the existence of some shadow company that’s got their fingers in many sinister pies. Bond follows the trail, all the while hoping to find the ones responsible for Vesper’s death in the previous film. He kills some people, M gets mad, and together with Camille, a Bolivian secret agent, work to take down the evil Dominic Greene, the leader of Quantum.

Well, it’s not exactly a bad story, but I’ll admit, it’s not quite as original as Casino Royale. The whole movie seems sort of like the second part of Casino Royale, actually; like the original movie was, like, 4 hours long, and they had to divide it. Which is fine, I guess. More to the point, though, this movie plays more like your more traditional 007 film. That’s not to say it’s campy, or that James Bond has unbelievable gadgets, or that he’s not any less of a badass than Daniel Craig has played him. But the structure tends to act more like a traditional James Bond plot; the plot revolves around Bond working up the ladder to fight Greene, the head of a large, evil corporation that has some sinister plan in the works, and Bond and Camille (his Bond Girl) reach his hidden lair and the film culminates in a final fight to the death. Still, even this they pull off in the new, awesome style of the Bond films. And I must say, the reference to Goldfinger with the dead, naked woman covered in oil on the bed? Excellent.


Acting

Nothing spectacular, to be honest. But then again, I didn’t find the acting terribly good in Casino Royale either. I mean, Daniel Craig plays an excellent Bond; he’s cold, analytical, somewhat brash, and above all, confident. He actually seems like the type of person who might actually kill people for a living. But there’s not a whole realm of emotional depth to anyone here. Bond seems angry and sullen, but that’s about it. Everyone seems angry and sullen. It’s an angry, sullen movie. The guy who plays the film’s villain is marginally better, as he seems to display more emotion (since he’s putting on a front for the public), but generally, no one in this movie is acting in such a way that it stands out. I’d say it’s satisfactory, but not much more than that.


Action/Special Effects

This is where I was disappointed the most. Casino Royale’s stunts and action sequences were bloody amazing. The shots were clear and stunning. Watching this film on the big screen made one feel they were actually on top of a big crane. Whoever coordinated those stunts deserves some kind of medal. However, the action scenes here (while no less larger in scale) suffered from the “Camcorder Syndrome;” All the shots were quick-edited sequences of close-up, shaky camera work, making the sequences both daunting and confusing. It’s much the same as other films like Batman Begins and Transformers, where the action was just so jumbled, it gave me a headache. However, this does luckily damper a bit as the film progresses. The final action scene in Greene’s lair is much clearer, and the aerial dogfight recreates some of that sense of being high up in the air. However, sadly, at least 50% of the fight scenes are in the first 30 minutes of the movie, so at least half of what we come to see is, really, ruined. Seriously, directors, stop that; I don’t care if you want to recreate the feeling of being beaten up by Batman, or being in the middle of a monster invasion, it’s bothersome.


Music

Dave Arnold returns to the drivers seat scoring this film, and his work is no less well done than it was in the previous film. We’re even treated to some more of his renditions of classic Bond motifs, which are very good indeed. If you like that sort of thing, I urge you to check the score out.

I’d like to discuss the Bond Theme for a moment, which was “Another Way to Die” by Alicia Keys and Jack White. Um, it sort of sucks. I mean, the actual musical score to the song isn’t bad, but with them singing it, it sounds sort of like hip-hop or rap or whatever the kids listen to these days. It had some elements of some more classic Bond music elements, but overall I was largely disappointed. Way to go, Alicia Keys and Jack White. The first duet in Bond Theme history and you go and blow it. Thanks.


Direction

Not bad, not anything astoundingly bad. But it’s clear that Casino’s director played his Bond with much more nuance. Casino Royale created something entirely new, and entirely awesome. I’ll be honest; I was never a fan of James Bond before Casino Royale. I thought he was silly and the plots were boring. About the only Bond-related thing I’d ever loved before two years ago was the Goldeneye video game for N64. Casino changed that. It impressed me so much that not only did it score a 0/4; I retroactively awarded it the Vesty for Best Film of 2006. I feel if you look at Quantum of Solace as the last hour-and-forty-seven of Casino Royale, it works. The characters have already been established, and the plot follows directly from the end of the previous film. If you look at it as a separate movie, it takes a step back towards the more corny James Bond films of the past. However, that’s not to suggest I’m too critical of this, because I do literally mean just one step; it only just touches on the campy stuff and the formulaic plot lines without actually crossing the line into it. Still, I found the pacing to be odd at the beginning of the film, the shots weren’t nearly as stunning, it suffered from that “Camcorder Syndrome,” and the ending was slightly unsatisfactory. The one change the director made that I think was actually really neat was the way in which they superimposed the names of the various locations into the film. If you’ve ever seen Heroes, and the way their episode titles fit in with the scenery, it’s something like that, with specialized font for each locale. That was neat. But besides that, I feel that the directorial changes made were not made overly well, but not horrendously bad.


FINAL SCORE:

1/4

A good film, but not perfect. I think the reason that people are divided by this is because they expected something as amazing as Casino Royale. They were so geared for something as amazing as before (myself included), that something just slightly sub-par seems like crap by comparison. I think perhaps this may be the result of making a sequel that is so directly tied to its predecessor. If they had left Casino Royale as it was, ending and all, and left the rest to our imagination, and then gave us a whole new story for the sequel, it might have felt more self-contained. But for what it was, it wasn’t bad. The story was mostly clear, there were still lots of decent action, and Daniel Craig was still awesome. It just felt different than Casino Royale, or rather more aptly; it’s somewhat too similar to what we’ve seen before. But it certainly was entertaining, I was never bored, and it was worth the $10 to go see it.

I’m just happy that this film ended conclusively, because I’m looking forward to something original for the next one. Here’s hoping.

This review will self-destruct in 30 seconds (sorry),
- Silent G

Swedile in the Classroom #3 - The Rhetoric of Typography

Eva Brumberger’s article on the connect or disconnect between visual and verbal thinking in an interesting read, but it pretty much says things that have been said before, and what’s more, are obvious in today’s generation; her belief is that typeface and design play a role in how we perceive any given text, and to some degree or another, this is true. For example, if I wrote a phrase somewhat equated with a ‘redneck’ manner of speech, such as “squeal like a pig,” in a calligraphy-style font, it would be so jarring that it would affect one’s perception of the phrase, and the writer. No one would take it seriously. However, her theory seemed to be more along the lines that even a less-drastic change in typeface could dramatically alter the perception of the material and it’s author, and I think the results of her study showed that this is not true to any noticeable degree.

This article did bring up another issue, however, that I would like to discuss in length; the divide between the verbal and visual type of thought. I, like Brumberger and a number of her colleagues that she cites, feel that one is not separate from the other. Some might be more inclined to one than the other, but we all think both verbally and visually. I, for one, would like to draw upon my own experiences to make a point on this topic; I think in both verbal and visual terms at the same time, almost to the point that I cannot separate the two (at least in regards to writing). I have a condition known as Synesthesia, specifically Grapheme > Color Synesthesia. That means…

This is how I perceive this sentence.

Every single letter and number has a specific color to me. It never changes (i.e. B is always blue, C is always red, etc), and is entirely automatic. And when I hear words being said, it is also largely automatic that I imagine the words for a moment, with said colors in mind. Yet at the same time, whenever I read words, I hear them in my head. Because of the color associations hard-wired into my brain, when I hear I see, and when I see I hear. It is a constant back-and-forth discourse between the verbal and the visual worlds. And I am far from alone in this regard. Recent studies have shown that accounts of Synesthesia are far more frequent than previously believed (http://www.ncbi.nlm.nih.gov/pubmed/17076063), and it is believed that 1 in 23 people have it. The numbers may be even higher, as to people with the condition, they often times have no idea the way they think differs from anyone else’s.

Of course, I don’t believe one has to have a form of Synesthesia to think both verbally and visually. I merely used it as an interesting example. I believe almost everyone thinks in both terms as opposed to just one or another. Both senses interact to give the viewer/listener a much more in-depth view of the world around them than just one or the other could do alone.

- Chris Muise

Swedile in the Classroom #2 - The challenges of hybrid forms of electronic writing

Having read Dene Grigar’s essay on hybrid forms of electronic writing, I was reminded of some thoughts I’ve had on the direction in which we read and write as a society. First of all, I’d like to point out that this essay, probably the first scholarly essay I’ve seen written like this (i.e. one not on a blog), uses Hypertext. I find that very interesting. However, what I find most interesting is not that Hypertext was used, but that it was used without changing the format of the annotated essay we’ve all seen and written.

The Hypertext was simply inserted into the essay, as many scholars would insert a reference to another scholarly work or an example from which they draw thoughts on or allude to. The writer did not have to alter the usual writing style to any degree to insert these links. Why is it the format of the essay already established - many decades before the advent of the personal computer and the Internet – lend itself so well to Hyperlinking? I think that speaks to the nature of the human mind and how we read, or perhaps more appropriately, how we’ve always wanted to read.

I don’t believe human beings think as linearly as we sometimes like to think we do. Speaking from personal experience, I can say my thought process, when reading at least, is both linear and non-linear at the same time. If I read an essay that has sources cited, or reading about something in an encyclopedia that mentions only briefly another subject, I often think (if the source cited is interesting), “Huh, I should look around for that. It might be interesting and informative.” I don’t believe I’m alone on this, either, considering the outstanding success of Wikipedia, which satisfies our instant curiosity; if you’re reading about Frank Miller’s The Dark Knight Returns, and you suddenly think, “Gee, I’d like to know what else Frank Miller has done,” a link within the article itself links to a page on Frank Miller, and often times even a specialized page just on the works of the artist/writer.

The way I see it, human beings have, if not for eons, than at least for a number of centuries, have been prepared to read the way we read now. The only think preventing that was technology. Gutenberg could not burn links into the paper with his printing press, nor could it be transmitted with the speed at which we have now. The best people could do for years was to provide directions to the source, which they could check when they found the time and energy to do it. Now, the information is right there at our fingertips. However, I’m sure that, had the technology existed, people in Johannes’s time would be browsing Albert II and Hyperlinking to previous rulers of Germany, the Holy Roman Empire, and what have you. I think we’ve always been ready for this sort of reading experience; the problem was that technology just didn’t exist until recently. To have arguments about how it’s classified, and debates over the term “new media” versus “Electronic Literature” or “Electronic writing” seems like splitting hairs. It’s like Eagleton said, writing simply changes with the zeitgeist. And I’m sure it’s not done changing yet.

- Chris Muise