The COMIC STRIP Returns?!!!! THE HOUSE OF DUELING MIDNIGHT #1

Yeah, yeah.. it’s pretty stupid, and horrible. But I have to admit… it made me chuckle. 🙂

As far as why… Well I’ve been meaning to put up a couple strips for a while. And have been trying to network, collaborate with a couple of artists, but I’ll let you in on a secret, artists aren’t really the most reliable bunch for collaborating or networking with… at least the ones I’ve been dealing with.

So rather than wait on people to grow up, I decided to just ‘what the heck’ it, and just go ahead and create and post something that would make me laugh.

Hence this very brief, very juvenile ‘cut and paste’ cartoon courtesy of one of the free cartoon generators out there, The art is crude, but the insane story and words and madness is all me. Hope you enjoyed it. If you do, leave a comment and some likes!

It’s a work in progress experiment, that will improve if you guys will stick in there with me. Thanks!! 🙂

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On Kinect, Face Recognition, Gaming, the war on Privacy and Tomorrow’s Tech Today!

So there is typically method to my madness.

Not always, but typically.

All laptops and tablets come with handy dandy cameras, pointed at your face. With Flash and Javascript and now the new html5 turned on, there are sites you can browse to, that without user intervention can turn on your camera and start snapping pics.

Any number of sites you can go to and see fools, without the good sense to cover their camera when not in use, undressing in sight of the laptop or webcam or hear their conversations when they are off camera, and they think the computer is asleep.

If that just scared you, even a little, it shows only… that you are still sane.

What I have just described, that’s the technology of yesterday. Not only have hackers been using it for years but so have ‘legitimate’ companies, that sell software that does just that, turn on the cameras and mics of a laptop remotely, without the user being aware. Ostensibly the idea for most companies is to use this in laptop retrieval, should the laptop be stolen. But any technology is more often used in salacious ways before constructive.

Example being, the first widespread use of pictures and video on the Internet was the female form.


Denise Milani pic courtesy of Tlcoldiesbutgoodies

For obvious reasons. Sex as they say… sells.

And all new forms of communication, to achieve widespread adoption… use sex to sell themselves to an un-trusting population. Whether it’s men in the wilds of Wyoming, being able to pick up this new fangled device called a phone, and hear a woman’s voice, an operator, speak to them for the first time, or the still common practice of draping a beautiful woman across a new car or motorcycle… it’s the allure of that oldest of motivations that drives new things.

So while the purpose of such technology may have been theft retrieval, by taking pictures of the person in possession of the laptop, then using a combination of GPS and IP address to determine their location, then notifying law enforcement; the truth is… that technology is in more widespread use, to invade privacy.

And as I said, that… is yesterday’s technology.

It’s got nothing on the technology of today, and tomorrow.

Ah, the joys of always on technology.

You know we have a whole generation raised on the idea of giving everything to the Internet, and not questioning or requesting safe-guards on individual liberties.

There’s a reason why we have (had much stronger) wiretapping laws, because there is the assumption that privacy is a central right of man. But what happens, generally through entertainment, through ease of use, is we give away rights, we relinquish the assumption that men have rights.

Take CANDID CAMERA, a show which began in syndication in 1948, before its most popular CBS run from 1960 to 1966… made it a national sensation. The show,virtually single-handedly shaped consent-less video recording as something harmless.

This show, funny, watched by everyone, often not in the best taste, but still had America laughing, was a show about video-taping people when they were not aware of it, and had more than anything to do with defining that as something innocuous. And suddenly in the pursuit of entertainment, a right you had with audio recordings, namely ‘a recording without your knowledge is against the law’, became lost with video recordings.


“Most audio recordings without consent of one or all parties are illegal…. Most video recordings are legal with or without consent.” — UVU

Yes, after the fact they still have to get you to sign a waiver to broadcast the video, but as far as taking the video of you without your permission (through a TV show, through pursuit of ‘fun’ and ‘social media’) that has became a defacto standard.

By not questioning the rights and boundaries being overstepped, those rights became lost. and that’s why we have the surveillance heavy society we have today, because in the pursuit of ease of use, and fun, and jokes, the masses gave up a fundamental expectation of privacy. And things like Face-book and You-tube and reality television are the 21st century extensions of the axiom: ease of use = deterioration of rights.

So we have a whole generation growing up with a pretty invasive technology in, of, and around them at all times. And what begins as entertainment today, that you have a choice in: Kinect, Siri, Face recognition; becomes obtrusive corporate policies and laws of the land tomorrow, that you don’t have rights to dispute, to adjudicate, to deny.

If you don’t care about your computer potentially having the mic and camera turned on remotely, without your knowledge or intervention, than this post isn’t for you.

But it is for those of us who want to have the right to disseminate our information, data, video, audio; when and to whom we choose. Or to have the right to not disseminate that info if we so choose.

But here’s the thing, increasingly pursuit of social media and ease of use and gaming is, by the very nature of the technology being used, incompatible with concepts such as privacy.

So a young generation, going by the mandate ‘I don’t have nothing to hide! I want my fun!’ is going for the immediate pleasure, seeing any technology infiltration as harmless. Here’s the thing it’s not about ‘having nothing to hide’ it’s about ‘having the right to choose who you share with, and where your boundaries begin, and where they end’.

That is a part of socialization that is being lost in this mad rush of always on technology, and ‘trusted’ computing and ‘cloud’ computing, and strangers as ‘friends’.

Who we are as people, who we become, is a lot about developing for ourselves our boundaries, and more importantly the people we let into and out of those boundaries. It’s about developing judgment and values and trust. And what is happening in a post Face-book, You-tube, Kinect world is a society where, like the 1950s audience for CANDID CAMERA, you have relinquished the right to boundaries… even in your home.

The Microsoft Kinect Device controller, is not just about motion detection, the underlying principles of it, which have not yet been scratched; is more than a face recognition machine, dressed as a game sitting in your living room recording your family.

It is a head to toe biometric unit, that is capable of mapping you, and identifying you from your brother or sister or father. It’s a wonderfully advanced whole body scanner… and database.

That’s the part that’s lost on people… Database. It’s a database with a map of your family that can phone home, and store detailed data about you and yours on remote servers. And call Microsoft what you will, but short-sighted and stupid is not among their sins. Kinect is an experiment, taking place in the consumers home, that has so many more profitable applications, beyond gaming.

So it’s more than a controller to create more accurate avatars to interact in 3D games. Its potential is to create a biometric representation of you, as unique as a fingerprint.

Why? Because it’s the holy grail of a new age of on-line transactions and commerce.

Think of the potential of Kinect, really think of it. A society that is becoming increasingly wired, and increasingly house bound, can shop virtually in immersive 3D environments. Banking done like you are playing the most stunning 3D game ever, but done with a unique, and for the purposes of commerce and law, legally binding avatar. An avatar that in terms of how your body moves and how it reacts (eventually incorporating heat ranges, and electromagnetic patterns), can tell potential advertisers more about you then you can tell about yourself.

I can see a day when Kinect biometric pattens are sold to advertisers just like home addresses and email addresses are sold today. So advertisers can tailor directly to you based on the things the pattern tells them, whether you’re balding or having menstruation issues or skin issues or an unhealed limp. Or how about Kinect used in the future to do on-line job applications, and submit a bio-metric pattern, like a signature with your application. Or perhaps even used as a rudimentary polygraph test.

You open the door for motion detection, body mapping, facial recognition, probability analysis in the comfort of your home, for the benefit of ‘entertainment’ and ‘ease of use’ and like that CANDID CAMERA audience of the 50s, you’ve relinquished the assumption that privacy in your home, or of your person, is in any way… a right of man. But you haven’t just relinquished it for yourselves, you’ve relinquished it for future generations, and that may be a path… worth pausing on.

So am I telling you not to buy Kinect, or to surf without Javascript and Flash and with HTML5 disabled? And to put a sponge bob sticky on that camera when not in use? Or to be wary of the technologies you bring into your home?

Nope, I’m not telling you any of that.

I’m only telling you there are no rights of man, without the effort of men to preserve those rights.

Every man, every woman, every child, the rights they would ensure, must be jealously, fanatically even, guarded… from even the seemingly most innocuous intrusion or, they will, in the fullness of time, be taken from you. They must be guarded even from yourself and such easy answers as ‘entertainment’ and ‘ease of use’.

I’m saying Nero fiddled while Rome burned, and I would hate to think a whole generation was playing games on Kinect while, things far more valuable… burned away.

For more on conect, both pro and con, see the following links:

123Kinect
Popsi

Those are just parts of the argument, research it for yourself… and decide.

As far as checking out your camera:

Here’s a pretty simple, and straightforward way to see how accessible your camera is (it is NOT one of the hacking sites I was mentioning earlier. At, least I don’t think it is :)) without your express permission.

Once on the site, on a less secure system, you may see your face if you click the button (on some really insecure systems you’ll see your face whether you click on the button or not). I’m not responsible for any pop-ups or hacking or viruses that may invade your system. or anything that occurs should you visit the site.

It appears to be an innocuous site, but I don’t own it, and am not affiliated with it, so I can’t vouch for it; beyond saying my system, which is pretty secure, was unaffected by the site. Your mileage however, may vary. Responsibility for your security, like anything on the Internet… is yours.

As it should be.

If anything you see on that site disturbs you, like your face staring back at you, look again at the paragraph where I mention javascript, flash, html5, and a sponge-bob sticker. 🙂

Daily Booth

I hope you’ve found this article of help. If you have, please toss some likes and comments this way; as well as using the button on your left to purchase the snazzy pdf/epub article I have for sale. Also go to the WEDNESDAY WORDS column and purchase nifty books, using the showcased links. Thanks!

What I am Reading: Saturday Selections

Well I got up with the sun still low in the horizon, I could see it from my window, and I grabbed a passel of books and my laptop, parked my chair where the sun would hit it, and set out to combine reading with updating this blog.

So what was on my read list?

Imaro
I’m rereading Charles Saunder’s IMARO VOL I. I’m on chapter one, great read.

The Spider Chronicles SC (New Printing)
I’m reading for the first time the 2007 Moonstone Anthology THE SPIDER CHRONICLES edited by Joe Gentile.  It consists of 19 short stories by some great writers. Among them Steve Englehart, Chuck Dixon, Martin Powell, Ron Fortier and others.

Reading the fun introduction by Comic Book legend Denny O’Neil.  And the first story, Martin Powell’s CITY OF THE MELTING DEAD, takes you right into the action, with a very cinematic tale of the Master of Men.

The Spider: City of Doom (Spider (Baen Books))
Continuing the Spider love, a pulp character I was not familiar with (beyond reference to him as a poor man’s Shadow) I also picked up the 2009 Baen publishing paperback THE SPIDER: CITY OF DOOM.  It’s actually a 600 page paperback omnibus, that is comprised of three Spider novels, namely: THE CITY DESTROYER, THE COUNCIL OF EVIL and THE FACELESS ONE, written by Norvell Page. I had some trepidation going into these novels based on some reviews on Norvell Page’s writing, but I’ve decided to see for myself. So wish me luck. 🙂

“If you’ve read any of Norvell Page’s Spider series, you recall he took what was meant to be a simple imitation of the Shadow and immediately swerved left to careen through Crazy Town with it. Those stories are so over the top that I used to put them down sometimes for a “What the hell” moment…. it’s difficult to overstate how whacky and exciting they are. On the other hand, don’t expect a neat tidy resolution at the end. This isn’t Ellery Queen, where every detail fits together perfectly. Page apparently made it up as he went, starting plot threads he completely forgot and taking off in different directions halfway through. You’d have to read the stories to fully understand what I mean, but reading a Norvell Page Spider story is like being in a car hurtling down a mountainside in the wintertime, the brakes out and the driver unconscious and some sort of large animal growling in the seat behind you. That’s THE SPIDER.”— Dr. Hermes Live Journal

Alan Moore’s Neonomicon
I also picked up the graphic novel NEONOMICON by Alan Moore, Jacen Burrows, and Antony Johnston (yet once again, I’ve been hoodwinked by ‘positive’ Amazon reviews, by reviewers with no taste or sense). 

It’s something I’m immediately sorry I bought. Mainly because it starts off with the exceedingly unpleasant, needlessly slur and epitaph laden, and pretty poorly written THE COURTYARD by Antony Johnston off of a Moore story/script. I’m not really interested in listening to a bigoted sob go on endlessly (the protagonist of the book), if that’s my thing I’d just listen to Fox news all the time. :). Also while I appreciate publisher Avatar bringing us esoteric and adult books, their art leaves a bit to be desired. I’m not a fan of their artists, in this case that would be Jacen Burrows.

So yeah, add a story I don’t like with art I don’t like, and this equals me not being a fan of THE COURTYARD at all. The fact that THE COURTYARD takes up half the book, means by the time I get to the NEONOMICON story, I’m so soured on the book I just don’t care. But I drag myself through it and you know what, I’m sorry I wasted the effort. A lot has been made of the sex, and violence and racism, yada yada yada. But really the book is defined by two words I had hoped not to associate with Alan Moore… boring and stupid.

Being a fan of much of Moore’s 80s and 90s work (even into the 2000s, I think his FROM HELL is one of his best works, right up there with WATCHMEN), it gives me no pleasure to say the following. Moore’s NEONOMICON, his love letter to HP Love craft, is just inane, pathetic writing from a writer who had been one of the best. And I’ve lost all respect for The Bram Stoker committee for giving an award to this title. Best Graphic Novel of the year?!! Did they just see the names Moore and Lovecraft, and decide this must be literary? Are you on Crack?! What a load of crap! NEONOMICON comes across as the bland, pedestrian work of a hack. And that’s a shame to have to say. But it’s the gospel. It’s not worth buying people, it is not even worth renting. This book is getting returned.

Silent Hill: Past Life
Now a graphic novel I’m reading that I do like quite a bit is SILENT HILL PAST LIFE from a company called IDW that is just exploding onto the comics/graphic novel scene. Written by Tom Waltz the story is capable but the selling point is the sublime art by Menton 3. It’s very reminiscent of the multi-media effects that David Mack is known for. Few pages in and very happy with the book so far.

Conspiracy of the Planet of the Apes
And finally one I’m several chapters into is Andrew E.C. Gaska’s CONSPIRACY OF THE PLANET OF THE APES. Initially when I ordered this book I thought I was getting a graphic novel, and was a bit put off to discover this was a prose novel, with spot and occasional full page illustrations.

But that reluctance was short lived once I started reading it. Gaska’s CONSPIRACY OF THE PLANET OF THE APES is GREAT!! I’m not even a Planet of the Apes fan, but was just enthralled by Gaska’s engrossing re-imagining of this well known story. I should finish it today, as it will probably take precedence over everything else.

One more thing on this book from publisher Archaia Press, it comes with a beautiful slipcover by living legend Jim Steranko, but once you take off that slipcover, underneath is this sumptuous faux leather book, with gorgeous patining and typography. Call me a twisted bibliophile but the feel of this book is grand. It feels like… luxury. Try and get that aesthetic from your digital book. :). This is definitely a writer to watch.

So that’s what I’ve been reading this bright Saturday. What about you gals and guys? Feel free to leave comments about your recommended reads today. Thanks!!

p.s. If you like the books I mention and are interested in purchasing, definitely use the handy-dandy links provided. Come’on guys I know how many of you view these posts, and it’s a good number, however people clicking on the links has dropped a bit, even as the number of viewers has increased. So gals and guys support the blog, by buying stuff you were intending to buy anyhow. Using the links makes a huge difference, and is a win-win situation for everyone. So Thanks in advance! 🙂

Movie Review: TRANSFORMERS: DARK OF THE MOON in IMAX 3D

Movie Review: TRANSFORMERS: DARK OF THE MOON in IMAX 3D

I just got to see the long awaited TRANSFORMERS DARK OF THE MOON in IMAX 3D, and the verdict?

It’s big, it’s noisy, it’s formulaic, it’s often hard for me to decipher one giant robot from another, particularly in battle scenes (whose big idea was it to make the two Primes, the same color scheme?) and, all those failings accepted…

I loved it.

Michael Bay I think gets a lot of undeserved stones cast his way, but he makes exactly the types of films he wants, and they put people in seats.

I think they are always visually dazzling. Now you can argue about depth and reliance on the formulaic, but the formula is the genre in such films, that are part of a long tradition of rousing action yarns, and more of… ballads to sacrifice. DARK OF THE MOON is the 21st century epitome of such ballads, the tale of Grendel, a myth of the hero mated with the monster movie, writ large. Writer Ehren Kruger becoming quickly a name to watch.

Brought to life with Bay’s extraordinary Visual Stylistics, and a level of mating special/practical effects and CGI that can only be called… successful. With no less then 4 visual effects companies, ILM, Digital Domain, Prime focus and Prana Studios, helping to weave their creations into the in camera/live special effects, stunts, and pyrotechnics; it is a massive undertaking.

If there is one thing I would fault the CGI for is perhaps making the Transformers physically too busy and too complex. Even when standing still they are a patchwork mess of colors, and shapes, and dood-dads, it’s hard beyond the generalities of this is a head a torso , two legs, etc… to really know what you’re looking at.

And once they get into fight scenes, forget about it, it is largely just a chaos of moving parts.

Realizing that, Michael bay does kick in the slow motion during crucial scenes.

So, yes, I know the visual effects guys were going for some sort of ‘realism’ in the convoluted design of the Transformers, but I think a bit more simplicity would have made them easier to differentiate, particularly in the battle scenes.

Thankfully the movie moves quick enough that you are not pondering the confusion too much, and the confusion becomes part of the story-telling, but ideally I would have liked less convoluted Transformers.

However, despite that, at no point do you fail to accept the humans and the Transformers inhabiting the same space, instead it is a seamless integration that the audience from first frame to last can just be swept up in.

And was.

The crowd I saw the film with… laughed, applauded, oohed, awed, and in places got teary eyed (I know I did) in what should be no more than an 80’s nostalgia, kid’s toy-line cash-grab. But it is a lot more than that.

Michael Bay creates Blockbuster entertainment, and DARK OF THE MOON is his largest, and surprisingly, his best film to date, edging out his debut film BAD BOYS; which I would have previously given that appellation to.

The shear scale of this monster movie (and ultimately that is what DARK OF THE MOON feels like… a huge monster movie) is awe-inspiring, and IMAX 3D shows you clearly why you should accept no substitutes in terms of 3D.

Bay set out to make the most amazing and immersive 3D film since AVATAR, and he’s done that. It’s a technical marvel, but like AVATAR the 3D never feels like a gimmick or afterthought or superfluous it’s part and parcel of the film he’s crafting for you. That said I’m still no fan of the exorbitant prices that movie chains like AMC are charging for IMAX. I paid $13.50 for a matinee ticket for this showing, a $5.50 surcharge over regular 2D ticket prices!!

Needless to say that’s not an expense I support or am prepared to pay, for the most part. I think 3D movies should be the same price as 2D movies. Particularly when most Hollywood films screened in IMAX 3D, have not lived up to the potential. Being technically and cinematically not effective uses of 3D.

However the IMAX 3D (and notice I specify a difference, I don’t like the REALD 3D Sony backed 3D process, and definitely would not pay more for that) in DARK OF THE MOON is (and yes I’m going to say it)… awesome. The scene when they go out the helicopter… wow. If the movie wasn’t nearly $15 I could (and would) go see it again, for wonderful scenes like that.

But great 3D in service of a mediocre film, would still be a mediocre film. DARK OF THE MOON is first and foremost a great film, as Michael Bay grounds this tale of titanic battles of building sized transforming machine behemoths, with the vagaries, and courage of the human heart.

As far as the casting, I have to admit to missing Megan Fox a bit. Newcomer Rosie Huntington-Whiteley is okay, but she’s no Megan Fox. As far as the rest of the cast, I’m no Shia LeBeouf fan, but thought his part was well written here and he did a very good job with it. And everybody else, Duhamel, Turturro, Gibson, McDormand, Dempsey, Malkovich, Tudyk, etc. were all great as well.

Alternately funny, touching, frenetic, sexy, action-packed, dire, epic and courageous, DARK OF THE MOON hits all the requisites of a blockbuster, and more then that all the requisites of a great film. You care.

I wasn’t expecting that, but care I did. There’s a deep vein of sacrifice in this movie, of heroism in the face of crushing odds.

And how that affects you, or if that affects you at all, says a lot about who you are, how you were raised, and what you value.

In a world where heroism, and caring and sacrifice and true liberty… are increasingly endangered concepts, and very few people speak truth to power… I get very sentimental about seeing that hope played out, that dream of dragons… resisted.

You take everything else away from me and what remains is this odd, insane, and totally irrational belief in… heroes.

And DARK OF THE MOON, embraces that ethos of epic and heroism and sacrifice, and is made surprisingly gripping because of it.

Michael Bay has crafted a film of incongruities: a film about machines that talks reverently of humanity, a sequel that improves upon the original, and a summer action flick, that is also just a great and emotional story.

All in all TRANSFORMERS: DARK OF THE MOON is a film worth seeing in IMAX 3D and in the theaters, rather than waiting for DVD. Highly Recommended. GRADE: A-.

MOVIE REVIEW! THOR IMAX 3D… The Verdict is…..????

Well the long awaited THOR movie is finally exploding across screens everywhere, and as I mentioned in my previous posts a lot hinged on this film, not least of which is a turnaround in a string of commercial disappointments for director Kenneth Branagh.

Well having just come back from seeing THOR in IMAX 3D… my verdict….??

It’s good, I enjoyed myself. It’s nicely paced, surprisingly smart film that also hit all the notes and plot points to shut-up people who were complaining about a multi-cultural cast, particularly Idris Elba (who always brings it), for pretty much all the story reasons I surmised.

So I was expecting it be action packed, but not necessarily as inventive, and even touching as it was.

Now that said, it does perhaps not quite meet the Juggernaut action expectations built up, but a solid story and performances, make up for that.

Kenneth Branagh handling perhaps the most difficult of all comic adaptations, exceptionally well, finding that difficult balance between regal and relate-able.

THOR even in the comic books, is extremely hard to a/get right and b/command a storyline. Instead working best as the heavy gun of the Avengers, then as a solo character. So for Branagh to steer this ship safely into movie theater shores, is no small accomplishment.

That said the ending felt a bit anti-climatic, the most effective action is clearly in the early portions of the movie. But that aside, the story beats, the emotional intensity, the Shakespearean like levels of tragedy and sacrifice, Branagh hits well. Hits hard enough… to satisfy.

Now leaving the movie proper to discuss the projection of the movie. I saw this in IMAX 3D, paying rather than the normal $8 matinée price, an exorbitant $14.50 for ‘IMAX 3D’. A $6.50 surcharge.

Before seeing this movie I couldn’t get any reviews to really discuss the 3D and if it was worth it. I’ve seen my share of IMAX 3D movies, real ones and the retrofitted AMC ones, and the ones not shot in 3D but simply post-processed, ie THOR.

Outside of a real IMAX THEATER (5 to 8 stories high, viewable at better science centers throughout the world), the best I’ve seen at an AMC IMAX theater (a midget IMAX) is of course AVATAR. Cameron pushing the technology to create 3D that actually works in a cine-plex.

But beyond AVATAR on IMAX 3D, most other 3D films suffer in comparison. THOR is no exception, it looks okay in 3D, but closer to the inferior Sony backed REALD 3D process, then real IMAX 3D. Sony’s inferior REALD 3D, gives a sense of looking into the screen, but it’s unable to give a real sense of the screen coming forward into real space, your space. This is what true IMAX 3D does so well. Not only offering depth, looking into something, but immersion, the film intruding and surrounding your real space.

So THOR IN IMAX 3D, looks okay, it just isn’t great. It isn’t IMAX 3D, and therefore is not worth the $6.50 surcharge. I personally think 3D movies should be the same price as 2D movies, but particularly if you’re going to charge that premium, the 3D experience should be breathtaking, and THOR IN IMAX 3D is just okay. The 3D almost transparent, and therefore, what’s the point.

So all in all if you can see this in 3D for no price increase, go for it. Otherwise avoid and stick to 2D on a big screen, you won’t be missing anything. And may actually gain something in brightness of picture.

3D is a nice thing for the occasional viewing, for the gee whiz factor, but it is no replacement for a really beautiful rendered and composed 2D film.

Just as HDTV for all its praise is not, nor never will be the equal of 35mm film, much less 70mm film.

HDTV is like DVD, a bastard compression medium, used to compress film into something viewable into the consumer confines of a tv and a living room, rather than the commercial standard of a movie screen and theater. Similar, but make no mistake, inferior, to true film.

And whereas a 70mm true IMAX 3D movie is in no way inferior to standard 70mm film, it is not appropriate for everything.

Cinema is a language.

And just as Black and White film can speak in a way color film can’t, and why I’m a huge Film Noir fan, 2D is also a distinct cinematic language, and sometimes that flat plane is the thing.

Not being in the shot, but observing the shot, is the thing.

Just as you can do THE THIRD MAN in color, but you would lose an ineffable part of the tone by so doing, that’s the same way that David Lean’s LAWRENCE OF ARABIA in 70mm, saying things about distance and alienation, would be lost translated into the “in-your-face” histrionics of IMAX 3D.

I like 3D in all its forms, to differing degrees, but even in its best forms I understand it’s a gimmick, that should not be overused.

3D ultimately is about lying to your brain, it’s about forcing a lie onto your brain, that this thing in front of you on the screen has as much depth and reality as the person sitting beside you or the world outside the theater.

In moderation it’s a fun gimmick.

But with this recent push to 3D TVs, you risk making it something else. You risk making the exception of lying to your brain, the rule, and what long term effects this can have, particularly on children’s development, growing up exposed constantly to this new medium, what challenge or aberration to their motor skills, and coordination, and socialization?, are questions that in the rush toward a new revenue stream… too many are ignoring.

Some of these 3D TVs are coming with warnings. You should heed them, and leave the 3D in the theater. My gut reaction? Stick to 2D for the home. At least till all the bugs are shaken out.

Likewise troubling, is the Sony push to digitize cinemas, as it has nothing to do with the best picture quality and everything to do with control and maximizing profit streams. The theaters forced to go this route will see their profit margins dwindle, and find themselves ever more at the mercy of the studios. And true 70mm and 35 mm theaters will go the way of the dodo, becoming a high priced specialty item for the few to seek out.

Here ends the public service announcement. :). Back to our THOR review.

Here on out I’ll be avoiding all 3D movies, unless a/specifically shot in IMAX 3D, with the Cameron cameras, or b/if it’s something especially gimmicky and is the same price as a regular film.

So given this criteria Michael Bay’s TRANSFORMERS III, which meets criteria # 1, will be the next 3D flick I check out. Unlike some people, I’m still quite enamored of Michael Bay’s visuals and always have fun at his movies. So if any movie can visually give Cameron’s AVATAR a battle, it may be Bay’s TRANSFORMERS.

So getting back to THOR, a very good if not great movie, that is poised to be the critical and commercial hit that Kenneth Branagh was definitely needing. And stay past the credits for the easter egg, if so inclined. Nothing earth shattering, but it’s fun that Marvel continues to do this universe building. Giving people a reason to sit through the credits.

Grade is a strong B/B+.

DISTRICT 9 film, SHELL GAS, NEILL BLOMKAMP, PETER JACKSON and crimes made clean by cash

I found DISTRICT 9 a well structured film, in terms of pacing, and the germ of its story. I mean there is a lot to like about DISTRICT 9. Its fast frenetic pace, strong performances, a short snappy running time, and really amazing special effects and impressive action, all grafted on to what is essentially a chase pic.

So there was a lot to like about DISTRICT 9, unfortunately the few things… not to like, I found to be significant things, and really kinda central to the heart of the film. And the heart was… corrupt.

Where DISTRICT 9 immediately fails for me is in its fairly unsubtle tone and its use of Black faces to deliver and reinforce White messages. A well worn Hollywood trope going back to the BIRTH OF A NATION.

What do I mean? DISTRICT 9 is a thinly veiled allegory to Apartheid South Africa, replacing the Kafirs with Prawns. The fact that in reality it is the aliens, the Dutch who came in and relocated the rightful occcupants into slums is kind of lost in this translation however. Instead we get Black actors (faces, as I’m sure most of them were non-actors) to in essense regurgitate lines that not too long ago the Dutch would have said about them. It is an irony not lost on me, but is without a doubt lost on the Black faces, thrust into a movie that is all about delivering white messages.

The most aggregious of which? The Nigerians. In one stroke they called them smugglers, drug and weapon dealers, sexual deviants, and cannibals. Wow. Who paid for this movie, Shell Gas?

I know a bit about Nigeria and I found that portrayal racist and maligning and calculated to reinforce stereotypes, on an almost unbelievable level. (I mean you can do a pic with Triad gangs, or Yakuza because you typically have positive asian elements in the same film, as well as tons of positive Asian films. However when a people are as underrepresented on the world stage as the Nigerians, it’s important that their only images aren’t negative images. Otherwise it becomes the engine of Stereotype. So I’m not saying “Do not use Nigerians in film”, but let’s try painting them as hereoes as well as villians, or perhaps even just as people)

It’s well known to everyone except the terminally stupid, which includes unfortunately most of America, that for six decades the Dutch-British company that is SHELL gasoline, this survivor of the mad dreams of Reichdom, has made their fortune by stealing and raping the land and resources of the native Nigerian people… the Ogoni (If you saw AVATAR you have seen a fictionalization of that Ogoni saga played out. With the exception being no one has yet come to the Ogoni’s aid). And the Nigerian email scams, are not Nigerian inventions but British/Dutch inventions (Noise to cover the real signal/emails that activists were trying to get out about the attrocities being perpetrated in Nigeria, against the native Nigerians).

So unfortunuately all the masses, who get their news from obviously bigoted sources such as FOX NEWS, know of Nigeria is little to nothing. All the masses know is the noise.

The noise and now DISTRICT 9.

A movie like Neill Blomkamp’s DISTRICT 9, that makes you care for the fictional oppresed Alien race (and want to say “no this is wrong” to what is happening on screen), does so at the expense of real people, The Nigerians, who have been and continue to be victims of staggering colonialism and oppression.

This juxtapositon with the illusion of caring, with the reality of “this filmmaker eithers doesn’t care enough to offer a non-jingoistic view of Nigerians”, ultimately drowns, what otherwise is a tight, faced-paced, stylish thriller of a movie, that I wanted very much to like.

But I see clearly that the films message of misrepresentation will ultimately only serve… to continue the crimes of mass-theft and mass-murder that continue to occur in Nigeria.

DISTRICT 9, has become a very stylish Nigerian spam email, Noise to hide the faint signal… of people who need your help.

So I view the broad license this movie takes, to paint an already deeply attacked and violated people, with such a broad brush of villany, the only way I can… with utter disgust.

Neill Blomkamp with this film proves himself an effective filmmaker, and perhaps he actually had the best of intentions for his film. But honestly I have to doubt it, the commentary against Nigerians was too pointed, and the use of Blacks/South Africans to espouse Apartheid era lines as subtle as a brick to the face. It comes across as the movie of an apologist for Apartheid at best, and a racist at worst. There’s no other way to say it.

Or perhaps Neill Blomkamp, a very young man, is as much a victim of programming as those Black actors in his film, mouthing white messages that can ultimately only harm them and theirs. Perhaps both him and his actors, raised on this cinema and culture of lies, it has become their truth, and all they can do is regurgitate it. All we can be is our father’s failings.

I’d like to believe that’s not true. I’d like to believe that we can all escape slums, both physical and mental. I would like to believe we can all escape our District 9s. Time will tell.

Recommendation: As long as you could go in and not take this picture’s definition of Nigerians as an encompassing definition, take a look. Otherwise read a bit on Shell Gas, and how your car these days runs as much on blood as oil. (For the record I boycott Shell Gas and recommend that all people do the same).

Here endeth the lesson.

Till next time… be well.