Power and Terror: Noam Chomsky in Our Times

Starring: Noam Chomsky, Carol Chomsky, Directed: John Junkerman, Distributed: First Run Features, Released: 2003, Running Time: 72 mins

Story:

Documentary filmmaker John Junkerman takes a look at a series of lectures and talks by Noam Chomsky following the events of 9/11 to show us the way in which Chomsky views power and terror as it happens and has in the world.

Review:

Noam Chomsky is constantly named as an important academic figure and speaker, Power and Terror reveals just why. Material taken from speeches and lectures given after 9/11, Chomsky addresses with finesse and character the subjects of power and corruption and how it all ties in with ideas of terror and terrorism that are prevalent in the world today.

Director John Junkerman takes us into the world of Chomsky, offering us some of his most insightful views and musings on power struggles, war and terror/terrorism. He takes material from his own interview with Chomsky, as well as footage from behind the scenes, to tell us a story behind power and the needs for war from the World Wars till today in Iraq. Junkerman paints Chomsky as a man who dares to speak his mind and be critical on subjects like American politics, questionable Western thought and US involvement in war past and present. Chomsky never hides away. Interviews and conferences the film explores allow us to see Chomsky as a man that is funny, social and relatable in his manner and public demeanour, but then is eloquently spoken and meditative on his teaching and learnings, opening and suggesting new avenues of thought people are less inclined to pursue.

Chomsky tells it like it is. Paraphrasing his archival knowledge on these subjects, his words invite an audience in, allowing them to see the world as he has. At times taking aim at the Vietnam War and Iraq War he gives his audiences a revealing perspective on power and terrorism, making one think what war is really about, and the motives behind it all. Delivering his word with calm authority, his open-minded view of the world parts a sea of pessimism that has shrouded the world and gives us some hope for the future. Opting for his unusual brand of humuor to perk a crowd, he injects life into dark and foreboding times and lightens the path for future endeavours.

Verdict:

Essential to read or see, Noam Chomsky has a voice that is unmatched, offering insightful and enlightening views that make you think.

Rating: ★★★★★

Thunderbolts #166

Composed By:

Writer: Jeff Parker, Art: Declan Shalvey, Colours: Frank Martin, Letterer: Joe Caramagna, Cover Art: Michael Del Mundo.

Story:

The Thunderbolts travel to London, England in the 1800s. Mr Hyde and Satana run away. Mr. Hyde starts to target and kill victims of ‘Jack the Ripper’.

Review:

It is a nice story in Thunderbolts #166 that like the last few issues takes you into an almost real historical moment and plays around with the mystery behind it. Its enjoyable to see an infamous figure, Jack the Ripper, played in this manner. Always been fascinated by it and him (her?), so I was pleasantly enjoying the read.

Jeff Parker really seems to know how to capture the mood and the attitudes of the time, the way that these murders had sent chills down the spines of police and bewildered many a folk whom attributed it all to magic and voodoo. His finger sits nicely on this. For the dialogue it speaks honestly for people in this time, it’s a hard thing to get right, but Parker does it well. It is never unbelievable what Parker writes into this issue, I can feel myself give in to it and that urgency that he places into the action plays out nicely with the dialogue that keeps it moving and makes us want to read further.

It is all more exciting and fluid for the artwork by Shalvey that is less confronting and exact this issue, unlike some that have come before. It is more concerned, as it should, with the way that the characters move and react with the moving action, and shows an attention to this, rather than being sacrificed for the tireless effort to get exact and precise facial looks and body renderings.

Instead, what we get out of this issue is a comic that looks not just to keep us reading for the witty dialogue and the exciting discoveries that are found along the way, but for the artwork that carries it all and delivers it before our eyes in a presentable fashion. Nothing is lost in this issue for not having the sharp and visually rich artwork it has had, quite contrary. It is quite befitting, and is a welcome break from all that we see on other titles, where it is often done poorly.

Verdict:

It is a issue that has a lot of merit. Parker has been solid with his writing, and this exhibits it well. Would not be a good place to start reading Thunderbolts but is interesting enough if you wanted to read it on its own.

Rating: ★★★

Yoshimi Battles the Pink Robots

Composed By:

Artist: The Flaming Lips, Producer: The Flaming Lips, Dave Fridmann, Scott Booker, Label: Warner Bros, Length: 47mins, Released: 2002

Review:

Transporting the listener to a world unlike our own, a world of fantastic mechanic monsters and mystical powers that transform the aural landscape around us, Yoshimi Battles the Pink Robots is an album that invites us into a magic journey that is portrayed vividly in the music and songs that fill the atmosphere.

The Flaming Lips album follows the widely acclaimed and critically praised album The Soft Bulletin that was released three years ago, that took a less experimental feel to the music in place of catchy melodic tunes and more accessible sound, but as well, a shift to a more serious and thoughtful occupation in content and lyrics.

Yoshimi Battles the Pink Robots builds from the band’s previous album, but takes a step back into the more familiar arena for the band, the psychedelic, the album feels more like their earlier work and the sounds are much more vivid and lively for this.

The songs tell a series of stories that paint a dark and haunting picture, the lyrics concern themselves with deep melancholic ponderings about love, mortality and deception, as the album opens its first four tracks, following the journey of its title character Yoshimi and her battle. Yoshimi Battles the Pink Robots takes the listener further into this in stories that occupy varying territories of thought on these matters, leaving noticeably disparaging views on the subject of love, namely lost love and the missed opportunity at love.

The Flaming Lips takes you into a world that is poignantly sad and lonely, with some moments that illuminate the sparse landscape, if only momentarily. Rich electronic sounds that cascade all around and tantalise the senses, it is an aural experience like none other that evokes an incredible feeling within, and that beckons you to listen on.

Rating: 8/10

A Serious Man

Composed  By:

Writer: Joel and Ethan Coen, Directed: Joel and Ethan Coen, Produced: Joel and Ethan Coen, Released 2009, Running Time: 106, Distributed: Focus Features.

Story:

Larry Gopnik (Michael Stuhlbarg), a professor of physics, is abruptly informed by his wife Judith (Sari Lennick) that she is leaving him and needs a get, a Jewish divorce, so she can marry her lover, the widower Sy Ableman (Fred Melamed). Larry, his son Danny (Aaron Wolff) and brother Arthur (Richard Kind) must contend with constant conflict and complications in their lives, all seemingly without end in sight.

Review:

Tragically funny and at the same time sadly moving and emotional, Coen brothers Joel and Ethan make A Serious Man a film to run havoc and go crazy on your senses. At a point in the film you can be feeling a profound connection, a transcending sympathy to a character, and then fall victim to a steady cackle and cheeky grin, as you watch voyeuristically at their untimely misfortunate and often tragic situation in life.

A genius film by all means of the word A Serious Man is not a film to take lightly; it eases you in initially so it can tell the story as it is, a house in the suburbs, husband and wife in the midst of martial friction, nothing too out of ordinary, though in a split second it all changes right before your eyes. In a strange and bizarre turn of events Larry is abruptly told that he is being divorced, that he must produce a get so his wife can marry her lover, and that he be moved out of the house at the benefit of all but the victim, Larry himself.

Life hurdles towards a stream of catastrophic and disastrous outcomes for Larry, which we watch happily, waiting for that next moment that supersedes the last. It is a devilish movie in that we root for something bad to happen to him, it gives such comic relief to us and moments of ecstasy, as he and the others wriggle and squirm to survive.

A Serious Man paints a story about a family of men trapped in a vicious cycle, living almost stationary existences where they are at the mercy of those around them. After failing time and time again to rectify their problems and get beyond it all, they are sucked back down into the abyss and tormented even more for our enjoyment. Not without its share of dark and moving moments that can be taken away by you, it’s complicated for the sardonic and often parodising look at suburban life that has you laugh so hard that you forget just how wrong it really is.

Verdict:

If you are a Coen brothers fan, or can see the humour in other people’s misfortune, A Serious Man could be your cup of tea.

Rating: 9/10

Avengers Academy #22

Composed By:

Writer: Christos Gage, Penciller: Sean Chen, Ink: Scott Hanna & Rebecca Buchman, Colours: Jeromy Cox, Letterer: Joe Caramagna, Cover Artist: Rodin Esquejo

Story:

Hank Pym tries to resurrect Jocasta following her brutal murder, calling on Magento, Emma Frost and Cyclops to help solve the mystery. Avengers Academy staff and students butt heads with these X-Men with some residual feelings clouding the judgment of some

Review:

It is hard to make a story feel as worthy as the one just past, in Avengers Academy #22, we see a story that takes the momentum that these stories have had and build a new dimension to it, one that sees this ball rolling fast and hard.

Issue #22 starts at a hairy moment in the Avengers Academy world when the safety of all is in jeopardy and all are in a frantic state. Gage builds his story around these feelings, showing us just how frayed around edges the characters are, and just how on alert they are too. Magneto coming into the story has a powerful feel, for these students had the tendency to turn bad, as Magneto did, so his presence can be seen as both a reminder of evil, or one of redemption, “Regenesis,” so to speak.

Gage proves his might with his handling of the guests in this issue, making it a touchy issue not only in the relationship of Magneto and Quicksilver, who do not see eye to eye and do not have any working relationship to speak of, but likewise, in Cyclops who quashes any affiliation the X-Men will have with Avengers Academy. Feeling are strained as Cyclops waves Pym off on his suggestion of a baseball game, isolating the Academy even more, after their run in with The Avengers last issue. Gage looks to make things more suffocating for this team, they have no one to turn to except in peril.

Chen has some nice artwork in this issue, it has a flavour that I particularly enjoy to see, it is vibrant and alive, filled with a kinetic energy. Often I have found though with Chen is that his art is not representational of the action and movement in the frame, he services the immediate action/reaction in the writing that isn’t always the right move, this is how he misses the mark. Frames need to feel like they work in tune with the writing, for a lot it is there however some do not convey the meaning accordingly.

It is not a hit and miss issue by any means, it just has its problems like most do to have the synthesis of writing to art, it is not new or uncommon, but in this issue I felt it could have been less obvious and frequent.

Verdict:

Although it has its flaws it is a good issue and has a really powerful team that works hard to produce quality. Its mistakes can be easily overlooked in favour of a suspenseful and enticing story and beautifully crafted frames that beckon us to read.

Rating: 7/10

X-Men Legacy #254

Composed By:

Writer: Mike Carey, Penciller: Steve Kurth, Ink: Jay Leisten, Colours: Brian Reber, Letterer: Cory Petit, Cover Art: Mico Suayan and Martia Gracia.

Story:

The X-Men are teleported through space to an unknown place as they follow the trail of Rogue who left in the hopes of finding Marvel Girl, Havok and Polaris that had been lost until now.

Review:

Landing the X-Men in treacherous waters, X-Men Legacy #254 spares no time before it drops us into some action and back into some solid story. Feeding from the anticipation from last issue, Rogue is found in a dire situation that for her does not look promising, and neither do things look great for the rest of the team.

Many questions are unanswered as of yet in the Age of X story and Mike Carey is not about to let these cards all fall onto the table. He tells us just enough that we have a glimpse into what is happening in the world and some sort of idea about the fate of Marvel Girl, Havok and the rest of the Starjammers team. Intelligently though he gives not too much away yet that we could surmise what might happen next, the crafty skill of Carey navigating as always, tediously close to revelation and insight.

Carey and his handling of characterisations is impeccable, though the team is at times at odds, without a seemingly relative core, there are moments that prove just how suited they are, with an unlikely combination like Gambit and Frenzy that Carey places in this issue, played out in the most extraordinary way, finding new strengths that he can put to the test, and make known what is indeed capable of happening.

Artist Steve Kurth takes the reins in this issue, taking the more traditional look to the art that we have not seen for a few issues at least. It does have some really inspiring alien landscapes, but for me, it seemed to fall far below the expectations that have been set. Kurth sadly falls short mostly on Rogue, and only her, as her representation is the only one that stands distorted and a bit comic in my opinion. It does not sit well with me, and it is a shame as the rest of the work is enjoyable, that is all that let me down.

Verdict:

It has the potential to be a title to beat for this year, only time can tell. It is off to a firm form, holding a stick of dynamite in its hand that will hopefully have the bang that will shake us all and cement its name.

Rating: 7/10

X-Men Legacy #253

 

Composed By:

Writer: Mike Carey, Penciller: Khoi Pham, Ink: Tom Palmer and Craig Yeung, Colour: Marte Gracia, Letterer: Cory Petit, Cover Art: Mico Suayan and Marte Gracia.

Story:

The X-Men track Styx and Endgame through the alleys of Paris. Legion faces off with Styx as the team battles the towering monster Endgame, and the X-Men Legacy “Lost Legions” story comes to a close.

Review:

“Lost Legions” comes to an admirable close in X-Men Legacy #253, and it has been an exciting story arc that has been told well by Mike Carey. Exactly as one could expect, Carey leaves us no time to wait as a new adventure and path is paved before our eyes, one that looks to resolve all queries left from the Age of X story.

Carey makes it a stand out issue in how he tackles two concurrent scenarios that have the team take on Styx and Endgame, leaving the fate of both hanging in the balance. Endless pages that scream out with action and excitement, Carey finds new ways to manipulate the characters that give us a truly exciting and tantalizing story for us to sink our teeth into. Fascinations with Rogue and Legion have lead to a reimagining of just what is capable and how these two extraordinary characters can be seen.

How Carey makes X-Men Legacy #253 most memorable is by his seamless transition into a new story and the vision he has to take the team back into territory that they left resolved in Age of X. Not only do we see ourselves launched into a new story and end on an indefinite cliffhanger, we see Carey invigorate the title in new and creative ways.

Khoi Pham and ink artists Tom Palmer and Craig Yeung do an astonishing job in bringing the story to life this issue, making waves in portrait battle scenes with Styx and particularly Endgame. For the most part it all looks incredibly detailed and picturesque, but as is always the case, some sequence panels leave something desired, not entirely clear in conveying the meaning. Marte Gracia guides the work well in his bleak vision to the story and his palette of colours evokes a sense of urgency and an unpredictable nature to the action.

X-Men Legacy #253 is one of the most harrowing tales that I have come across and it isn’t about to let up. Just as the story comes to a halt in one way, another seems to flourish. Mike Carey is an artist in his element, and it is an exciting thing to be apart of.

Verdict:

X-Men Legacy #253 stands to prove to us why it is has been named a must-read title and shows just how ingenious Mike Carey really is.

Rating: 8/10

Safe House

Composed By:

Directed: Daniel Espinosa, Produced: Scott Stuber, Written: David Guggenheim, Released: 2012, Running Time: 117, Distributed: Universal Pictures.

Story:

Tobin Frost (Denzel Washington), an ex-CIA agent and wanted criminal, acquires a file from an MI6 agent that has him tracked down by mercenaries and forced to seek refuge in an American Embassy. It leads him into the hands of CIA and low-level agent Matt Weston (Ryan Reynolds), a man stationed to mind and monitor the safe house they take him to. Weston is made responsible for Frost after his team is killed, tied into a conspiracy by the CIA to silence Frost and then Weston as he learns about credible information Frost holds that could irrevocably ruin the agency.

Review:

Exhilarating till the end, Safe House is a film that will knock your socks off almost literally, it leaves your heart jumping out of your chest and pounding from excitement, and then there is there are those tense and suspenseful scenes that catch you off guard, shocked the hell out of me. It will have you latching yourself onto the armrests as you lap up all the excitement and energy that this movie has to offer you, tense car chases, barrage of bullets, and heart-stopping suspense to make your body tremble.

Director Daniel Espinosa has worked this movie to the bone, capturing some of the most enjoyable and heart palpitating scenes that can be imagined, suddenly a fast-paced scene in the thick of it falls into a dead silence where the action creeps up from beyond the frame and like a thump to your skull you are thrown back into the deep end. Safe House is made to take you on a merciless ride that only stops momentarily before it throws you back in the thick of it, rushing and racing along at an excitable pace that mimics a real life drama, only better.

Reynolds and Washington play off one another remarkably in this film, they excel in constructing for us a picturesque drama that only ups the ante until the breaking point in the film where all the pieces are set in place and the chips begin to fall. Reynolds demands attention in this film, and matches the stellar performance by Washington in the film and even that of Brendan Gleeson, a corrupt head CIA agent that hunts Frost down; they are all impeccable.

Safe House is a film to see for 2012, and not to be missed by anyone. It is one that I would like to see win a few awards and get the acknowledgement and praise it deserves.

Verdict:

Go see it now, don’t wait any longer, it is a must see. If you miss it you’ll be kicking yourself raw.

Rating: 10/10

You’ve Got Mail

Composed By:

Book: Parfumerie by Miklos Laszlo, Screenplay: Nora Ephron and Delia Ephron, Director: Nora Ephron, Producer: Nora Ephron, Released: 1998, Running Time: 119mins, Distributed: Warner Bros.

Story:

Joe Fox (Tom Hanks), a superstore book chain tycoon, befriends a woman through anonymous emails, sparking a connection and intimacy neither expect nor share in their actual lives. Kathleen Kelly (Mega Ryan), an independent bookstore owner confides openly online to Hanks, unbeknownst that he is her mystery lover.  Ryan and Hanks face a harsh reality that sees a closure to the much-loved store that Ryan owns for the new book chain, causing a discernable rift between the two, but amidst it all they still find love. Shock and awe ensue as they learn of each other’s identity, but the film stands to prove that love can triumph all woes in the end.

Review:

I can always appreciate a love story when it is told well, and in You’ve Got Mail, the formula has won me over. Tom Hanks and Meg Ryan are wondrous to watch on screen, their dynamic is beyond explanation, which is probably why Sleepless in Seattle hit home so well.

You’ve Got Mail is told in a way that is not at all sappy, it’s charming and even funny at times. Joe Fox, Hanks, strides around seeming all too pleased with himself, not at all this way when he speaks online, he is eloquent and endearing. Kathleen Kelly is likewise a more extroverted individual in her online persona but exists almost voiceless in her life, pushed down by her overpowering boyfriend who claims the spotlight. It is this precise element that brings the film its defining flavour and vigour, seeing these perfectly matched couple, that bring about the best in each other, split by dirty business that becomes particularly personal to Ryan’s character.

Nora Ephron (When Harry Met Sally, Sleepless in Seattle) packages a love story in a neatly formed envelope that becomes unraveled throughout the film, showing the true influence and growth both force out of each other. Joe Fox learns how to bestow kindness and a proper sense of manners on people and Kathleen Kelly finds a voice to fight for what she believes in, what her wants and aspirations are. They turn each others greatest power on the other, he finds a place for her gentle and humble voice in his while she finds a way to use his confident and untamed voice, liberating her from constraint. Ephron pits them against each other but it doesn’t stop them from finding love in the end, instead it gives it much more value.

You’ve Got Mail is a film that contains something missing in latter interpretations, a relatable feel, and a truthful resonance. It stands the test of time and is still heartwarming. It has a timeless factor, we don’t see that enough.

Verdict:

You’ve Got Mail is a love story told simply and told well. If you don’t cry, at least you’ll laugh, with a box of tissues there beside you.

Rating: 8/10

Ferris Bueller’s Day Off

Composed By:

Written and Directed: John Hughes, Produced: John Hughes and Tom Jacobson, Released: 1986, Running Time: 103 mins, Distributed: Paramount Pictures.

Story:

Ferris Bueller, a high school senior decides to skip a day of school to spend the day in downtown Chicago. Along for the ride are girlfriend Sloane Peterson (Mia Sara) and best friend Cameron Frye (Alan Ruck). Dodging the Dean Edward Rooney (Jeffrey Jones) scorned sister Jeanie (Jennifer Grey), and his parents, Ferris pulls off the most extravagant day imaginable.

Review:

Films like this are rarely seen these days, and none too often miss that mark which provides the timeless touch. Luckily, this makes Ferris Bueller’s Day Off the more memorable as a result.

Extraordinary to the end, protagonist Ferris Bueller has a live life to the full mantra behind all the action in the film, doing all that is humanly possible in one average school day, and then so much more. Intelligently written and mighty witty, the film takes you on a wondrous journey towards enlightenment and fulfillment…at least for some characters that is. John Hughes molds a film that both questions the monotony of everyday life and explores a vibrant culture and city in Chicago that Ferris reveals to us through his eyes, teaching us that a little fun is evidently therapeutic for the soul, and invigorating for life itself.

Ferris Bueller’s Day Off is a rebellious movie that says life is too short to stay stuck in school, and so it takes us through all of life’s little pots of gold that are to be enjoyed, all before the reality of the world places them back in check. Broderick, Ferris Bueller, breaks that forth wall constantly in the film and reaches out to us and involves us, his life is a translatable metaphor to our own lives, the feelings of being trapped or unfulfilled and then having to take those serious commitment to life goals and ambitions.

John Hughes tells a story of paramount importance, that we must break free of what is socially and morally correct and pave our own way in life, do all the things we want to do, be the person we aspire to be, not a carbon copy and boring drone. Hughes tells it with flare and racy excitement, as the three take to the streets of Chicago, learning some valuable lessons, finding a new lease on life, but just as key, having a mountain of fun along the way.

Verdict:

Whether you’re a John Hughes fan or not, Ferris Bueller’s Day Off is a movie that caters to the rambunctious and rebellious side in all of us.

Rating: 9/10