The Dork Report for July 31, 2006

Miami Vice (2006)

Miami Vice movie poster

 

Miami Vice is decid­edly slight on char­ac­ter and depth, which is not sur­pris­ing con­sid­er­ing the source mate­r­ial. It is quite so, how­ever, con­sid­er­ing writer/director Michael Mann’s track record once leav­ing the iconic 80s tv show behind.

The deep char­ac­ter­i­za­tion in all his crime dra­mas rang­ing from Thief through Col­lat­eral ele­vate them above the ultra­styl­ized and hyper­vi­o­lent genre films they would have been oth­er­wise. Even the most minor char­ac­ters in Heat have back­sto­ries and sub­stance. Thief and Heat each revolves around a long cof­fee­house con­ver­sa­tion; how many genre films slow down long enough for the char­ac­ters to talk to each other? And it also has to be said of Col­lat­eral that Mann some­how drew out of the increas­ingly looney Tom Cruise an actual per­for­mance, prob­a­bly one of his last before he heads fur­ther down Michael Jack­son lane to crazy town.

But Miami Vice is dis­ap­point­ingly empty, with an engag­ingly twisty-turny plot and typ­i­cally bril­liant edit­ing and cin­e­matog­ra­phy. But when there is no invest­ment in the char­ac­ters, who cares when they start shoot­ing each other in the face?

The Dork Report for July 30, 2006

  • Breck Eisner’s 1994 stu­dent film “Recon,” star­ring a cyber­punk Peter Gabriel. I’ve always wanted to see this… never occurred to me to check out YouTube.
  • Just to fur­ther illus­trate that YouTube has every­thing, here’s video of “Rachel Blake’s” impas­sioned Hanso Foun­da­tion protest at the Comic-Con Lost panel.
  • Catch­ing up on my Neil Gaiman:
    • A sam­ple of the newly remas­tered Absolute Sand­man, Vol­ume One of which inci­den­tally now has a cover and release date (Novem­ber 1).
    • Frag­ile Things, a new book and cd of short sto­ries, com­ing on Sep­tem­ber 26.
    • The cover and some art from his new comics series, Eter­nals (and more here). For dorks in the know, there’s a stun­ning bit of news at the bot­tom of the page… Mar­vel has agreed to (re?)publish Mir­a­cle­man when the rights clear?! (of course, Gaiman’s been in court over that mat­ter for at least a decade, so I’m not hold­ing my breath)
  • With AOL.com (now free to the pub­lic, with tons of video), AIM Fight, the new AIM Pages, AOL is try­ing really hard to look cool in the face of mas­sive impend­ing layoffs.
  • Top 50 Movie End­ings of All Time. The usual sus­pects are present and accounted for (Cit­i­zen Kane, Casablanca, Brazil, etc.) but kudos for includ­ing less obvi­ous choices (and Dork Report favorites) like Before Sun­set, Brazil, Rush­more, and Big Night. (spot­ted on Kottke.org)

The Dork Report for July 26, 2006

  • Wow. Renais­sance looks amaz­ing. I have a friend who will lose his mind when we sees this.
  • Metal­lica (one of the last hold­outs, fol­low­ing Madonna) finally puts itself up on iTunes (iTunes link).
  • Thousand-year-old medieval book of psalms dis­cov­ered in an Irish bog, with this eerie twist:

    The book was found open to a page describ­ing, in Latin script, Psalm 83, in which God hears com­plaints of other nations’ attempts to wipe out the name of Israel.”

  • The sky is falling in the movie biz: Dis­ney lays off 600 and Warner Bros. 400.
  • A panel of “experts” pick the 50 Films to See Before You Die for Film4, coin­ci­den­tally what Film4 has been able to license for broad­cast. (guest sub­mis­sion from Andrea)
  • What are those crazy Icon­Fac­tory kids up to? Day 1: read the riot act by the WC3. Day 2: installing a port-a-potty. Day 3: wav­ing good­bye to archaic HTML and, um, some­thing to do with Opti­mus Prime? I smell a redesign, at least…
  • After albums rang­ing from the crit­i­cally acclaimed to the insanely pop­u­lar, Moby’s lat­est, Hotel, was dull, dull, dull. But turns out the Lit­tle Idiot still has some fire in him yet, judg­ing by his blog (the poor boy should take his iBook to the Soho Apple Store to get his SHIFT key fixed):

    one of the big dif­fer­ences between lib­eral dis­dain for con­ser­v­a­tives and con­ser­v­a­tive dis­dain for lib­er­als is that lib­eral dis­dain for con­ser­v­a­tives tends to be issue ori­ented and con­ser­v­a­tive dis­dain for lib­er­als tends to be jin­go­is­tic.
    when lib­er­als com­plain about con­ser­v­a­tives it’s usu­ally focussed on things that con­ser­v­a­tives have done while in power.
    when con­ser­v­a­tives com­plain about lib­er­als it’s usually(based on lis­ten­ing to rush lim­baugh and bill o’reilly, etc)focussed on jin­go­is­tic slogans(‘they hate life’, ‘they love sad­dam hus­sein’, etc)that have noth­ing to do with any of the seri­ous issues with which we’re confronted.”

  • Won­der­fully cheesy Snakes on a Plane Flash ban­ners.

The Dork Report for July 25, 2006

The Dork Report for July 23, 2006

  • It’s the 20th Anniver­sary of Real World Records:
    • Big Blue Ball, a near-mythical Peter Gabriel album in the works since 1992, is finally near­ing com­ple­tion.
    • Atten­tion DJs (or at least folks who like to play with Garage­Band): remix “Shock the Mon­key” and win a… um, some elec­tronic thingie.
    • Peter writes about the label and the stu­dio in The Inde­pen­dent:

      The first release on Real World was Pas­sion — the sound­track for the film The Last Temp­ta­tion of Christ. It was also the first time I had recorded with Nus­rat Fateh Ali Khan, and per­haps the most extra­or­di­nary ses­sions to this day were when we were in the attic stu­dio, which had a raised bal­cony at the back. The Indian vio­lin­ist L Shankar stood up on the bal­cony and Nus­rat was stand­ing just behind the desk on the main floor. I think every­one had hairs stand­ing on the backs of their necks as the music started. Both of them took the melody and made it their own. It was like ten­nis when you think the rally can’t get any bet­ter but each player raises their game and it just goes up and up. Amaz­ingly emo­tional: it was India and Pak­istan work­ing together for a film about Christ”

    • At the time of Live 8, Peter Gabriel righly pointed out no one had asked hardly any non-western musi­cians to par­tic­i­pate. Live 8 at Eden: Africa Call­ing, a new live album culled from the Live 8 event put together by Gabriel and Yous­sou N’Dour.
  • Hope­fully the The Dork Report isn’t in dan­ger of becom­ing The Hoff Report, but… The Hoff on Broad­way! (guest sub­mis­sion from The Halk)

The Dork Report for July 22, 2006

  • More wild Apple spec­u­la­tion: eBooks along­side a full-screen iPod and movie down­loads? (spot­ted on MacRu­mors)
  • More details on K-9 and Sarah Jane Smith’s return to TV, with pic­tures! (spot­ted on Out­post Gal­lifrey)
  • Kot­tke high­lights an Inde­pen­dent cover graphic that briliantly illus­trates inter­na­tional reac­tion to the war.
  • Nutjob UN Ambas­sador John Bolton per­forms some pretty bru­tal cal­cu­lus on the rel­a­tive worth of Lebanese vs. Israeli cit­i­zens’ lives. What a bastard.
  • Every­thing about Rhino Records’ new Dig­i­tal Store seems great: out-of-print albums that would oth­er­wise be unavail­able, a huge cat­a­log of music videos, and hand-picked dis­counted mini-compilations. But they com­mit some of the biggest music sins of dig­i­tal music sales (some of which are admit­tedly just the pet peeves of a music snob):
    • alpha­bet­iz­ing solo artists by their first names, and any band whose name begins with “The” under “T”
    • sup­ports only the extremely unpop­u­lar Win­dows Media DRM, exclud­ing Linux, Macs, iPods, etc.
    • no reviews, cred­its, liner notes, or even orig­i­nal release dates
  • The Elec­tronic Fron­tier Foun­da­tion pro­vides new FAQs (Fre­quently Awk­ward Ques­tions) for the enter­tain­ment indus­try. (spot­ted on BigO)
  • The Icon­Fac­tory posted a cryp­tic mes­sage on their home­page Fri­day… what could they be up to?

The Dork Report for July 21, 2006

  • An aston­ish­ing case of a feral child recov­ered in the Ukraine is the ulti­mate test of the nature vs. nur­ture issue: (spot­ted on Boing Boing)

    Experts agree that unless a child learns to speak by the age of five, the brain misses its win­dow of oppor­tu­nity to acquire lan­guage, a defin­ing char­ac­ter­is­tic of being human.”

  • The most crap­tac­u­lar lyrics of all time, with a strong show­ing by 70s prog groups on page 2. Nice! (guest sub­mis­sion from Andrea. A-N-D-R-E-A! Ding ding dang ding ding ding don ding don dang!)
  • Wikipedia is far broader than I had imag­ined… and I had imag­ined it pretty broad. There are whole entries for bad prog rock albums (hi, Tales From Topo­graphic Oceans!) and even par­tic­u­lar songs, includ­ing Gen­e­sis’ “<a href=“http://en.wikipedia.org/wiki/Supper” onclick=“javascript:_gaq.push([’_trackEvent’,‘outbound-article’,‘http://en.wikipedia.org’]);“s_Ready”>Supper’s Ready.”
  • New Line Cin­ema part­ners with Zenescope Enter­tain­ment to cre­ate comic books based on Final Des­ti­na­tion and Se7en. Watch the Se7en comic book trailer (Win­dows Media link), with motion graph­ics type set in… dear god… Arial. (spot­ted on Comic Book Resources)
  • McFar­lane reveals the Lost action fig­ures. The Shan­non fig­ure is sur­pris­ing and yet, not sur­pris­ing at all.
  • J.J. Abrams, cre­ator of my crack, cashes in.
  • This will not be inter­est­ing to any­body who’s never heard of Grant Mor­ri­son, but whoa, this is a crazy weird pair­ing if I ever heard of one.

The Dork Report for July 20, 2006

Daleks’ Invasion Earth: 2150 A.D. (1966)

Daleks Invasion Earth 2150 AD movie poster

 

Daleks’ Inva­sion Earth: 2150 A.D., the sec­ond Dr. Who fea­ture film, fol­lows Dr. Who & The Daleks by one short year, and clearly betrays where the public’s inter­est lay at the time by ditch­ing any men­tion to Dr. Who in the title. The first film largely dis­re­garded the TV show’s premise and con­ti­nu­ity, and the sequel sim­i­larly plays fast and loose with its own pre­de­ces­sor. Dr. Who has yet another young female rel­a­tive, a niece named Louise? Why does she call her uncle “Doc­tor”? Did Bar­bara elope with that twit Ian? At least Louise is much bet­ter look­ing, so one mustn’t com­plain. Oth­er­wise, the screen­play is loosely based on the orig­i­nal 1964 TV ser­ial “The Dalek Inva­sion of Earth,” star­ring William Hart­nell. It fol­lows the orig­i­nal far­ily closely, espe­cially in the early seqences show­ing a war-ravaged Lon­don and the iconic image (well, to Brits, any­way) of a Dalek ris­ing out of the Thames (actu­ally bet­ter real­ized in the orig­i­nal — here they cut away from a Dalek head pok­ing out of the water and back to it fully emerged).

It’s just barely slightly bet­ter in terms of action and spec­ta­cle (the Dalek fly­ing saucer ain’t half-bad, con­sid­er­ing), but nev­er­the­less just as mind-numbingly stu­pid. Let’s start with the title. Why is it set in the future? Everyone’s dressed in 1960s cloth­ing, with con­tem­po­rary rifles and cars. If there’s noth­ing gained, it might as well be set in present day. Plus it would be that much more of an excit­ing thought for kids to to imag­ine an inva­sion might hap­pen today rather than next century.

Look out, Robo-men! Why did the Robo-men take off their hel­mets and sud­denly become human again when the Doc­tor sim­ply orders them to attack the Daleks? And why do they scream like girls? Why do the Daleks have fire hydrant guns? Why do the Daleks only take male pris­on­ers? What do they do with the women?

Of course, there’s also the music. After another set of point­less psy­che­dlic open­ing titles, a sequence depict­ing a bank rob­bery is set to… Beethoven? WTF? After that we get a generic light­hearted score, deter­minedly whim­si­cal even when Dr. Who dis­cov­ers a corpse. Inci­den­tally, this Doc­tor is badass. Cross­ing the coun­try­side on foot, a Robo-Man orders him to halt. The Doc­tor shoots him and turns right back to map. “As I was saying…”

And finally, why did the Daleks invade Eng­land? The “mag­netic influ­ence of the North and South Poles” is located under Wat­ford, of course!