Tag: adaptation

Trisha’s Take: “Star Trek Continues: Pilgrim of Eternity” review

Star Trek Continues Pilgrim of EternityStar Trek Continues – “Pilgrim of Eternity”

Directed by Vic Mignogna
Written by Steve Fratt and Jack Trevino
Story by Vic Mignogna and Jack Marshall
Starring Vic Mignogna, Todd Haberkorn, Larry Nemeck, Chris Doohan, Grant Imahara, and featuring Michael Forrest
Rating: This series is suitable for all-ages.

As a bit of a disclaimer, I was never really into the Star Trek franchise as a young geek. The Original Series was long gone before I was born, and since my parents aren’t into fiction that strays too far from reality, I didn’t watch “Star Trek: The Next Generation” with my parents, like many of my fellow geeks did with theirs. Therefore, when I heard that anime voice actor Vic Mignogna was involved with a project to continue the original serial, I didn’t think too much of the project at first.

At the same time, this is the same Vic Mignogna who produced his own fan-film for Fullmetal Alchemist titled “Fullmetal Fantasy” where he dreams that after receiving a replica State Alchemist pocket watch, he has transformed into main character Edward Elric and that everyday people around him have been transformed into characters from the series; this is definitely a form of meta-fan service as Mignogna is the English dub voice for Edward Elric. According to Mignogna, there were some legal issues regarding his showing it at anime conventions for a while; this ban seems to have been lifted since the short film has now shown up on Mignogna’s concert DVD.

I believe I saw “Fullmetal Fantasy” within the first year of its debut in either 2004 or 2005, and I remember being impressed with how professional it all looked, even to the point of one of the scenes taking place during a rainstorm, one of the most expensive effects to reproduce for filming. After doing some more research on the production staff of Star Trek Continues and learning that Steve Dengler, philanthro-geek extraordinaire was an executive producer, I knew I had to see at least one full episode.

The premise behind Star Trek Continues is that each season of The Original Series contained events which happened during one “year” of the Enterprise’s original five-year mission. Therefore, STC‘s adventures take place during the show’s (and the ship’s) fourth year of adventuring, which means that the crew of the Enterprise on STC is the exact same crew as was on the Original Series. This episode in particular calls back to Original Series episode “Who Mourns for Adonais” by not only bringing back the alien who claimed he was the Greek god Apollo but also Michael Forrest, the actor who originally portrayed the character as well.

In this episode, something has sucked all the power out of station batteries in a particular section of the galaxy and the Enterprise has been sent to investigate. They find a gigantic mass which starts rapidly sucking all the energy out of the Enterprise. Before the ship dies in the middle of space, the Enterprise is able to fire one photon torpedo at the mass, breaking it into pieces—but also causing a greatly aged Apollo and his sister Athena to appear on the bridge.

Apollo is able to eventually explain that his people were able to coalesce together again and had created the great mass in an attempt to recreate the kind of energy they needed to continue their existence, but the experiment backfired on them. Now Apollo is the only member of his race remaining and he requests that Captain Kirk (Mignogna) take him to a planet full of humanoids so that he can die in peace and not alone. Remembering how autocratic and how dangerous Apollo was during their first meeting and after the revelation that Apollo isn’t as powerless as he originally stated, it’s up to Kirk to decide Apollo’s fate.

I was immediately charmed by this episode due to my familiarity with not just Mignogna’s work but by seeing Grant Imahara (“Mythbusters”) as Lt. Sulu, Jamie Bamber (new “Battlestar Galactica”) as a redshirt, hearing the voice of Marina Sirtis as the voice of the computer (originally played by Majel Roddenberry), and knowing that Chris Doohan—the son of James Doohan—is playing Mr. Scott. As the episode played on, however, I found even more to delight me.

Re-casting Forrest as Apollo was a stroke of genius and added a sense of continuity to the new series. I was very much struck by the character and how much dignity Forrest brought to the role. There’s a scene where Apollo is being rejuvenated by entertaining a crowd of off-duty crew in a recreation room (the progenitor to Ten Forward, I assume) and beyond what was done in post-production, there’s an audible and visible change in his voice and posture from when you first see him as a frail, energy-depleted being.

Mignogna as Kirk was somewhat surprising to me as he was less bombastic than Shatner played him and definitely more reflective and passive as a commander. It’s almost as if the spirit of Jean-Luc Picard inhabited James T. Kirk’s body, and made him blonde. It’s definitely going to take me a few more episodes to see exactly how different Mignogna’s Kirk is to Shatner’s or even Chris Pine’s before I can definitively declare whether or not I like it. I will admit that the scene where ship’s counselor Dr. McKennah barges into Kirk’s quarters while he’s topless gave me a giggle, as did the denouement at the end where Kirk is quipping with Spock (Todd Haberkorn) and Bones (Larry Nemeck).

As far as the other roles go, Haberkorn seemed subdued as Spock, and both Doohan and Nemeck were wonderful in their roles as Mr. Scott and Dr. McCoy, respectively. I think I’d want to see more episodes before I decide whether or not I like Imahara as Sulu, Kim Stinger as Lt. Uhura and Wyatt Lenhart as Ensign Chekov.

The faults that I have with this production are that the audio mix seemed too soft most of the time and I kept losing Bones’ more soft-spoken dialogue. I also have a problem with the aforementioned scene in the recreation room; why did it take so long for the emotionless Mr. Spock to notice that Apollo was enthralling his human audience? And why didn’t he react when Apollo was threatening Kirk? The resolution to the central issue also feels like it borrows too much from Christian mythology as well as perhaps Monsters, Inc. as well.

Finally, there’s one more possible problem with Star Trek Continues: There is already another webseries which details the continuing adventures of the crew of the Enterprise called Star Trek: Phase II which started production in 2003. While I haven’t seen a full episode of that series yet, it also features cameo appearances by Original Series cast members reprising their roles such as George Takei, Walter Koenig, and Grace Lee Whitney. STC even boosted their Uhura from Phase II, as Stinger is credited as playing Uhura on the Phase II episodes as well. It sounds like there’s an interesting story behind this, and as someone who enjoys fan-media, I wonder exactly what’s going on as the websites for each production don’t acknowledge the other’s existence.

Still, I wish the cast and crew of STC much luck and hope that future episodes prove to be as fun as this one.


“Star Trek Continues” premiered at this year’s Phoenix Comic Con and this episode as well as three connecting scenes can be seen both online at the website and on its YouTube channel as well.

Two Books Enter: An Assembly Such as This versus A Wife for Mr. Darcy

[Editor’s Note: Many thanks to Lauren at Kid Champ for letting me borrow her “Thundertome” idea for this review series. – TL]

When I first got my Android-enabled phone, I searched for something to read on it during a long 45 minute subway commute. A Google search for “free ebooks” took me to Google Books and their app, and I downloaded two books by Jane Austen, one I’d never read before (Sense and Sensibility), and one I’ve read so very many times over the years: Pride and Prejudice.

The first time I read Pride and Prejudice was outside of a school context, and while the text was somewhat unwieldy to me, I really loved the story of these two mismatched lovers who have to get over themselves before they can really appreciate each other and fall in love. Over the years, I’ve read the book hundreds of times, and I was looking forward to reading it all over again. As I turned the pages on the touch screen with my thumbs, the finer details of the story sunk deeper into my brain and I began to gain a new appreciation for the story. Which, of course, lead to my next thought: How can I read more?

The great thing for fan-fiction authors about Jane Austen’s novels is that they’re currently in the public domain, which means that anyone can take her setting, characters, stories, add on to the story, and actually stand a reasonable chance of having it published by a reputable publishing house. There have been versions where the characters are dealing with a zombie apocalypse, a continuation that features a lot of Regency-era sex, and even one where Mrs. Bennett is a stereotypical Jewish mother.

However, I wasn’t interested in any of those, not yet at least. I wanted to read something as historically accurate as possible,and as true to the original characters as one could get without hijacking Austen using a time machine. After reading lots of reviews, I finally settled on two Kindle books, which I quickly purchased and started reading the next day:

Two books enter, who will win…?

I read Assembly first because the premise intrigued me more. As a female writer, I have problems with writing from a male perspective and I really applaud those writers who are great at writing characters who are an opposite gender. I really wanted to see how Aidan portrayed Mr. Darcy’s internal conflict over his growing feelings for Elizabeth, as Austen herself only writes near the beginning of Chapter 12, “She attracted him more than he liked.”

In Aidan’s book, Darcy is properly the cold and frosty gentleman that Austen shows him to be, and she even adds a hint of crushing superiority, as seen in this description of the attendees of the assembly:

There was no beauty, conversation, or fashion to be found in the entire room save among those with whom he had arrived. Rather, he was surrounded by the common, the dull, and the trite, that class of the barely gentrified whose idea of conversation was no more than gossip — and that of the vulgar sort of which he was the current object. Darcy could not help but compare his present circumstance with the last time he had been to Tattersall’s in search of a suitable new Thoroughbred stallion for his brood mares. Then and there, he privately vowed to purchase no more horseflesh at auction.

She also explains his friendship with Mr. Bingley by introducing the idea that they met after Darcy overheard some men at his gentleman’s club planning a cruel joke on Bingley; their friendship sprang out of Bingley’s true good nature. There’s also the idea that Darcy sees himself as Bingley’s mentor; this is borne out by some great scenes later in the novel where the two are in the gentleman’s parlor at Netherfield and the former is passing along all the stewardship lessons that his father taught him.

I also can find nothing out of tune with Austen’s novel in how Aidan characterizes Darcy’s relationship with his sister or his opinions of Miss Bingley’s marriage designs on him (though she doesn’t comment on the fact that Austen makes it clear that Darcy wanted Bingley to marry Georgiana). Some of my favorite parts of the beginning of this novel involve Darcy’s internal monologue, as in this passage where he’s trying to figure out more of Elizabeth’s personality:

No, Miss Elizabeth Bennet was not impressed with the London sophistication of Miss Bingley or Mrs. Hurst, nor did she appear to feel the necessity of inveigling her way into Caroline’s good graces, as most of her neighbors were doing this very moment [while paying their social calls]. Instead, thought Darcy with dawning comprehension, she found Miss Bingley’s manner objectionable! Far from cultivating her, she had, by the drollery in her eyes, assigned her a place among the ridiculous, as one might do with an amusing but slightly mad relation. Having satisfied himself on what Miss Elizabeth Bennet was about, Darcy found the discovery to have engendered two equal and opposite emotions, which struggled manfully in his breast. The first was to stiffen in indignation at the impertinence of the lady in judging her betters. The second was an impulse to laugh in agreement with her assessment. A twinkle had almost reached Darcy’s eye when he was struck with the remembrance that Miss Bingley was not the only resident of Netherfield who amused Miss Elizabeth Bennet. The twinkle was ruthlessly suppressed as he considered again her manner toward himself.

His further thoughts lead him to conclude that Elizabeth overheard his infamous “She is tolerable; but not handsome enough to tempt me” remark, and his response to it is to think of it as a challenge:

If she had chosen to sulk, he would be bound [to apologize], but as it was, she had elected to draw swords. Darcy looked up again and found Elizabeth Bennet at the side of her elder sister, both of them looking at a portfolio of Miss Bingley’s latest sketches. A bold move! He smiled to himself. I understand you now, but I fear you are not up to weight if you think to play that game with me! The smile was now accompanied by a satirical eye as he bent to the task of discovering more fully his adversary’s qualities.

I think that this interpretation of how Darcy found himself thinking more about Elizabeth concurs nicely with the original Elizabeth-spoken interpretation:

The fact is, that you were sick of civility, of deference, of officious attention. You were disgusted with the women who were always speaking, and looking, and thinking for your approbation alone. I roused, and interested you, because I was so unlike them.

With this basis in place, the rest of the novel proceeds extraordinarily well, right up until Darcy and Bingley’s departure from Netherfield in Chapter 11—and where almost everything in Assembly falls apart. The inclusion of the character of Fletcher as Darcy’s valet was cute in Netherfield, but becomes a bit too much to deal with in these chapters as he takes a more prominent position in the narrative. And while I rather like the introduction of additional characters in the form of Darcy’s secretary Mr. Hinchcliffe and Darcy’s friend from university Lord Brougham, I felt betrayed by Aidan when she decided to mix in historical figures like Beau Brummell (and turn him into a more frightening Tim Gunn) and allude to the political climate of the day with the mentions of people like Viscount Castlereagh and George Canning, thus tempering my love for this book into a conditional acceptance. To me, even though we know that the book takes place during the Regency period, there’s something wrong with knowing more details about what year, and even though to be involved with or at least knowledgeable about such political affairs would be within the purview of a gentleman such as Mr. Darcy, it goes against so much of what I love about Austen’s work in that it’s timeless and apolitical.

There are two more novels in Aidan’s Fitzwilliam Darcy, Gentleman trilogy, the second of which takes place entirely before his visit to his aunt in Rosings Park. In contrast, Simonsen’s A Wife for Mr. Darcy takes place in one book, and due to its premise, the events are different. My reading of the novel started well enough, beginning with a private apology from Darcy to Elizabeth Bennet for his uncouth remarks at the Meryton assembly. Simonsen skillfully interweaves lines from some of Darcy’s later speeches into the their little tête-à-tête, and the result is near-seamless and amusing:

“Your apology is accepted, Mr. Darcy. I appreciate that you took the trouble to come to tell me in person that I am more than tolerable,” Lizzy said, half laughing at his clumsy effort to repair any damage resulting from his comment.
Darcy winced at her response. “I can assure you that I find you to be much more than tolerable, Miss Elizabeth. You are a very handsome woman, and I might have had an opportunity to express such a sentiment if I had sought an introduction. However, I do not have the talent of conversing easily with those whom I have never seen before. I cannot appear to be interested in their concerns as others do, and I find I have little patience for the type of discourse one hears at these dances.”
“What type of discourse is that, Mr. Darcy?”
“The usual banter about weather and roads and other such things that are of little interest to me,” and leaning forward in his chair, he continued, “Whether it be Meryton or London, I hear the same conversations. A lady will comment on the number of couples in attendance at a dance, and the gentleman will respond by mentioning the size of the ballroom. And what, pray tell, do we learn from that exchange? One party is good with measurements, and the other can count.”

Simonsen also acknowledges Austen’s reasons why Darcy would be impressed by Elizabeth, and the scenes between him and Elizabeth when they meet again at the Lucas residence seem almost perfunctory. It isn’t until the Chapter 3 when everything goes completely off the rails with the introduction of Simonsen’s Georgiana Darcy. I couldn’t put my finger on what it is I didn’t like about her, and then it hit me during this exchange in Chapter 7, when she decides to attend the ball at Netherfield:

Georgiana, whose clothes were made by the finest dressmakers in London, laughed. “I am going to Netherfield for the purpose of attending a ball, not to shop in Meryton.”
“Forgive me. I am tired. As an aside, you may be interested to know that after the ball, Louisa and Caroline will return to town, and Mrs. Crenshaw will come to keep house for Bingley.”
“Mrs. Crenshaw and her little band of ruffians! The same ones who put mud in my riding boots? I am convinced that it was Athena who actually did the deed, but she was put up to it by those monster brothers of hers.”
“I can easily believe it. When Bingley leased the house in Surrey, I saw Athena throwing rocks at the ducks. For such a little girl, she was remarkably accurate.”
“Why does Charles put up with their obnoxious behavior?”
“He finds them spirited.”
“Spirited! If they were in my care, I would spirit them away to the nearest woodshed for a proper whipping.”

It was not long after this that I stopped reading the book and I haven’t been convinced I should return to it any time soon, as this goes completely against Austen’s description of Georgiana Darcy (through Elizabeth’s eyes): “Elizabeth, who had expected to find in her as acute and unembarrassed an observer as ever Mr. Darcy had been, was much relieved by discerning such different feelings.” (Translation: Georgiana is not nearly as outspoken as Darcy is.)

In writing this article, I’ve skipped ahead in A Wife for Mr. Darcy as well, just to be sure that I’m giving Simonsen and her novel a fair shake, and encountered more of what turned me off: allusions to the then-current political climate, breaches in etiquette and conduct during Elizabeth and the Gardiner’s visits to Pemberley. The final straw came in the form of this line of internal monologue when Darcy confronts Lydia about George Wickham: “Grabbing a wooden chair from the hallway, Darcy brought it into the room and sat opposite to Lydia, and he thought what a little shit she was [emphasis mine].” If I could get a refund on a Kindle book, I would.

So congratulations go to Pamela Aidan for this victory over Mary Lydon Simonsen in the world of Pride & Prejudice published fan fiction. And now I’m off to research how to remove and scrub a Kindle book from your library.

Trisha’s Take: Footloose review

Footloose

Directed by Craig Brewer
Starring Kenny Womald, Julianne Hough, Dennis Quaid, Miles Teller
Rating: Not Available at time of Review

When I first heard almost two years ago that Paramount Pictures was going to produce a remake of the cult Kevin Bacon dance movie Footloose, that it wouldn’t have elaborate dance sequences, and that it would be an “edgier drama” than the original or the musical based off of it, I said that they were off their rocker:

Remember a little movie musical called West Side Story? You know, that one that’s based off of William Shakespeare’s Romeo and Juliet and won 10 Academy Awards, including the one for Best Picture?

Well, that movie had racial discrimination, gang violence, death by knife, and a near-rape scene and yet also features some of the most elaborate and most demanding choreography ever seen on film, thanks to director Jerome Robbins and his cast of mostly Broadway veterans.

At the same time, however, I like to keep in mind that while yes, there really are very few original plots out there—and way too many tropes—as Multiplex creator Gordon McAlpin recently put it, a good movie is all in how it’s executed.

By the by, there will be plenty of spoilers for the plot of the original Footloose movie in this review; it’s been 27 years since it came out, for crying out loud. However, I will try like hell not to spoil exactly how the remake does things because I want you to be as pleasantly surprised as I was when I saw it.

Ren McCormack (Kenny Wormald) has moved from Boston, Massachusetts to the tiny town of Bomont, Tennessee (population: 19,200) to live with his aunt and uncle after his mother’s death. While attempting to fit in, McCormack learns that a series of strict laws have been put into place following the tragic death of five high school seniors just three years earlier. With the help of some friends, McCormack hopes to overturn the unjust laws so that everyone can feel free to dance.

Newcomer Wormald is enjoying his first major motion picture release as the lead after roles such as “Dancer” in films like You Got Served and even Clerks II and a run in the direct-to-DVD Center Stage: Turn it Up. Unfortunately, I can’t tell from the material whether or not he’s a good actor. Because director Craig Brewer and original screenplay writer Dean Pitchford stuck so close to the original story, I had a very difficult time seeing Wormald for his own abilities because I was too busy comparing him to Kevin Bacon’s performance. Sure, Wormald is a much better dancer, but Bacon definitely has him beat in the acting department.

Where Brewer and Pitchford moved away from the original is where I liked Wormald the most, but I suspect that it’s more due to the fact that they revealed more backstory and delved deeper into the themes of the original than it is to Wormald’s acting abilities. Perfect examples of this are the scenes between Ariel Moore (played by real-life dancer Julianne Hough) and her bad boy race car driver boyfriend Chuck Cranston (Patrick John Flueger) when she tries to break things off with him, and after that when she has her showdown with her preacher father, played by Dennis Quaid. Due to the added bit of backstory which fleshes out Rev. Moore’s motivation for helping push through the restrictive laws and some other scenes which showcase Ariel’s rebelliousness, Hough’s final outburst and emotional breakdown is so powerful that it’s difficult to watch (and not just because it may be triggering to some). By the end of the sequence, I wondered why no one had thought to shove this girl into some serious psychotherapy. It’s because Brewer decided to delve deeper into the themes of loss and grief and how they change a person that the story as a whole became stronger.

I also loved Miles Teller’s portrayal of Willard, Ren’s first friend in town. Teller infuses Willard with such glee and unabashed love for his town and all the people in it that you completely forget that he’s supposed to be a “stupid yokel” and are simply charmed by him. I had a feeling I’d seen Teller somewhere before, and was pleased to learn that he’d been in Rabbit Hole in a much more demanding role—playing opposite Nicole Kidman, of all people. I laughed the hardest during his scenes, and Teller definitely stole the focus from Wormald in every scene they had together. Another bit I noticed and loved was that it was the owner of the drive-in theater and the owner of the cotton gin who wanted to keep rock and dance music alive in the town, a nod to how African-Americans have always tried to keep their music alive when it’s being repressed; this is apparently a common theme in Brewer’s work, as seen in his breakout film Hustle & Flow.

However, in attempting to give Ren more of a backstory, they inadvertently made him “bulletproof”—that is, after two certain scenes, one between Ren’s uncle Wes (Ray McKinnon) and the reverend, and another shortly after between Ren and the school principal (Brett Rice), there is no way that Ren can do anything wrong because thinking so will make you out to be a Bad Person. This turns Ren into a Gary Stu, and while those scenes were emotionally satisfying for the smackdown within, like a Twinkie, you start to realize that the scenes were hollow and full of fluff. As such, the final brawl between Chuck’s crew and Ren and his friends becomes rather anti-climactic, even if Ariel and Rusty do manage to earn their Badass Female Fighter merit badges during it.

“But what about the dancing?” you may ask. “Tell me about the dancing!” For every point that Brewer and Paramount Pictures earned for casting real live dancers as their leads, five points should be taken away for shooting the group dance scenes so haphazardly that you can’t even see their movements. More telling, the storyboarding keeps the camera focused on above-the-torso shots. It’s not like people who are going to see Footloose are going to be turned off by longer and more elaborate dance sequences.

Just as the first flawed Harry Potter movie for me resulted in my making a mental checklist of which scenes made it into the adaptation, which did not, and what things got added rather than fully enjoying the story, so went my viewing of the new Footloose. That is not to say that I didn’t like it. It’s just that one can only have so many Twinkies.


Warning: Common side effects of seeing Footloose, which will go into wide release on October 14, is that you will have the song by Kenny Loggins stuck in your head for days. Everybody cut—!

Trisha’s Quote of the Day: When in Philly, don’t be in Scotland

If the movie is set in Philadelphia, why aren’t you filming it in Philadelphia? Admittedly, when I visited Glasgow, one of my first comments was that it reminded me of Philadelphia. But even so, Philadelphia itself would be a better stage for a story supposedly taking place in the City of Brotherly Love. Besides, your extras in Glasgow are going to have the wrong incomprehensible accent.

LiveJournal Daily Quiz co-moderator Angledge has some issues with the shooting location for the movie adaptation of World War Z where filming has already begun.

Trisha’s Take: The Social Network review

[Editor’s Note: We’re trying something a little new here where more than one person writes a review of a given thing. Any and all feedback would be greatly appreciated. – TL]

The Social Network

Directed by David Fincher
Starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Armie Hammer, and more
Rating: PG-13 for sexual content, drug and alcohol use and language

Before I write this review, I am obliged to tell you that one of the reasons why I was excited when I first heard about this movie was that Aaron Sorkin (The American President, “The West Wing”) would be writing the screenplay, and that he’d started a Facebook page to do research.

Back then, I’d called it a documentary, and boy was I wrong. The story of The Social Network is based on a not-completely factual non-fiction book by Ben Mezrich called The Accidental Billionaires: The Founding of Facebook, A Tale of Sex, Money, Genius, and Betrayal and it was Sorkin and director David Fincher’s job to turn the story within that book into a movie.

For those who aren’t familiar with Facebook‘s history, the first 20 minutes or so of the movie reveal part of its source via a common story trope, although tweaked a bit for the 21st century. Girl (Rooney Mara) breaks up with Guy (Mark Zuckerberg, played by Jesse Eisenberg) because he’s a tremendous ass, Guy gets drunk and starts writing computer code, and almost overnight, he has alienated almost everyone on his campus… and planted the seeds for an even greater invention.

Though I am a geek, it is not of the computer science flavor and so a lot of the jargon Zuckerberg threw out as he was drunk-coding went completely over my head. What did ring true for me was that he had been hurt by what he perceived to be an unfairness, and he took it out on innocent bystanders while performing an Allen Ginsberg-like howl into the electronic void on his LiveJournal. And perhaps that blend of new technology with age-old human behavior and conflicts is what makes The Social Network a compelling story.

(In a curious burst of synergy, though there is a Zuckonit user on LiveJournal, the account was created approximately two weeks ago and the journal is devoid of content. That’s a real shame because couldn’t you imagine what fun it would have been to be the PR copywriter assigned to simulate what Zuckerberg’s “real” LiveJournal entries would have been?)

The other curious effect of the story presented in Social Network is that it humanizes Zuckerberg by presenting him as a “sexually insecure computer nerd,” according to The Guardian‘s James Robinson. And perhaps this observation is the direct opposition of what Robinson writes about in the rest of his article which described a growing disillusionment with Zuckerberg’s disregard for privacy, but it’s a testament to Sorkin’s words, Fincher’s direction, and Eisenberg’s acting ability that even when he’s ignoring the safe and sane approach to business espoused by his best friend Eduardo Savarin (played very well by Andrew Garfield) and behaving like the most reprehensible businessman ever, the audience in my preview screening never wanted to see Zuckerberg fail miserably.

The antagonists in this story include twin pretty-boy athletes Tyler and Cameron Winklevoss (both played by Armie Hammer) and computing bad boy entrepreneur Sean Parker (Justin Timberlake, in an Oscar-bait worthy performance); it’s Parker who is given the shortest shrift by being portrayed as a paranoid druggie has-been.

As I write this review, I’m struck by the fact that I could talk for ages about how great the dialogue is, how disappointed I was that there weren’t any extensive pedeconferences, how cool the music was (except for the last nightclub scene in California, where it was turned up so loud that you almost couldn’t hear the dialogue–just as it would happen in a real nightclub), and still I really only think this movie was just good, but not great.

I have a suspicion that my ultimate dissatisfaction with this movie is that in attempting to humanize Zuckerberg and create a protagonist whose journey you really wanted to follow, Sorkin pulled a lot of hackneyed ideas out of his overnight bag and sprinkled the film liberally with them. The worst offender is the last scene of the movie which ends with Zuckerberg at his computer all alone… just as he had been when he first began his journey towards being the youngest billionnaire in the world.

And life just isn’t as “neat” as all that.

The Social Network is gathering friends for its U.S. release on October 1. Could you help by going to your nearest theater and purchasing a ticket?

Trisha’s Take: Mao’s Last Dancer review

Mao’s Last Dancer

Directed by Bruce Berensford
Starring Chi Cao, Bruce Greenwood, Amanda Schull, Joan Chen and more
Rated PG for a brief violent image, some sensuality, language and incidental smoking

There’s an art involved in adapting a book into a movie. Stray too much from the source material and you run the risk of alienating the audience who already knows the story. At the same time, if you stick too closely to the book’s conventions you may not attract enough of an audience who wouldn’t normally be interested in the original work.

And if the book is based on true events, and is an autobiography to boot? All bets are off.

The plot of Mao’s Last Dancer is based on the autobiography by Chinese-born ballet dancer Li Cunxin, who following in the footsteps of such artists as Rudolph Nureyev and Mikhail Baryshnikov, defected to the U.S. in 1981. However, the story of the movie begins in medias res, with a 20-year old Li stepping foot onto American soil at the beginning of a student exchange program which places him deep in the heart of Texas, with the Houston Ballet.

I was a little confused by the first few opening scenes because it felt to me that perhaps there was a bit too much medias-ing going on as out of the entire entourage who met Li (played by Chi Cao as an adult) at the airport, the only person whose role I was certain of was Bruce Greenwood as Houston Ballet director Ben Stevenson; the other characters felt like random white people to me because I wasn’t certain of their names or connection to Li. Thankfully, names and relationships began solidifying as the story then flashed back to Li’s youth and his introduction to the Beijing Dance Academy (where Li is played first as a child by Wen Bin Huang and then Birmingham Royal Ballet dancer Chengwu Guo as a teen) to help to fill in the pieces we’re missing. These flashbacks are intercut with the action in the present as Li becomes more acclimated to American culture and as his romance with fellow dancer Elizabeth Mackey (played by Amanda Schull, whom you may remember as Jody from Center Stage) deepens, so does his renown with the company and resolve to stay in the U.S.

These true events of which contemporary Houstonians recall with pride took place when I was 4, and it’s something I don’t remember my parents ever speaking about with their adult friends. As a result, I was fascinated with the story of the political drama but found myself most drawn to Li’s transformation from village peasant to into dedicated dancer. It doesn’t hurt that he is inspired by two of his teachers, one of whom inspires by exposing him to contraband film of Baryshnikov’s work and the other who inspires by sparking his sense of pride and duty. You can’t have a biographical dance movie without some sort of training montage, and I hope that I’m not exposing a bias when I say that I’m glad that it looked as serious as the kind of training montage you’d see in a kung fu movie.

Australian director Bruce Beresford (Driving Miss Daisy) and screenwriter Jan Sardi (The Notebook) are to be commended for their adaptation of Cunxin’s book, treating all the major and minor players in this drama with an even hand. Even the Communist Party members who are only toeing the line are depicted fairly and it’s a testament to the strength of the story and the movie that even without clear villains it’s still a story that’s as riveting now as it was back then. Other critics have complained that there’s not enough political drama, but I really don’t think that was the point of the movie, and especially of a story like this. It’s all about the dancing, and I’m so glad that they spent so much time on that part of Cunxin’s story.

Ultimately, though, the movie does suffer from the same problem that all book adaptations do; even with a 117 minute running time, the movie only skims the surface of what is such an engaging story and narrative that the book was named the “Book of the Year” when it was released in 2003. Still, it’s worth seeing for the great performances and an education in what life was like before you were likely born.

Available in U.S. theaters on August 20, Mao’s Last Dancer is proof-positive that white chicks love a man who can dance. And wear tight tights.

Johnny Depp to become next Doctor?

Not exactly.

On one side, you have Chris Greenland, a blogger from science fiction publishing house Tor.com who said last week that Johnny Depp will be the star of a movie adaptation of the quintessentially British TV series.

After citing a deleted article from content mill PubArticles.com which said that the reason that new series creator Russell T. Davies moved on from the show to work on the movie, Greenland went on to say, “[I]t was with even greater surprise that movie studio sources confirmed with Tor.com today that, while it can’t comment on possible story elements, the casting of Johnny Depp as the Doctor for a 2012 film is confirmed.”

On the other side is Charlie Jane Anders from io9.com who went straight to the BBC and reported back that there is no plans to adapt “Doctor Who” into a movie franchise and that any talk was pure speculation.

Since Greenland’s article is still up and a redaction has not been printed, it makes me wonder exactly who his source is and how high up the chain he or she is. However, that’s the extent of the baseless speculation I’m going to be doing here as no one else has been able to independently verify this news through their own sources.

LEGO movie builds up steam with announcement of directors

Will these guys be the next to make it big in Hollywood? (Source: Dunechaser)

After two years of blogging about upcoming movies, I thought that I’d seen all of the most ludicrous things you could adapt into a movie actually get the green light and funding to become a movie. Yes, even the upcoming Candyland and Battleship films.

Until this exclusive from Borys Kit over at The Hollywood Reporter‘s Heat Vision blog which announces that there will be a movie based on the LEGO franchise, that is.

According to Kit, Phil Lord and Chris Miller (Cloudy With a Chance of Meatballs) are in final negotiations to direct a blended live-action/animation movie featuring the ubiquitous building bricks for Warner Bros., under the supervision of producers Dan Lin and Roy Lee with Jill Wilfert handling the money and creative contributions on the LEGO side. And there is bound to be lots of creative influence from the LEGO folks, who are shrewdly and wisely protective of their brand, trademark, and copyright.

There is no word yet what the plot will be, but Kit reveals that Lord and Miller will be working on this film the second they’re done with the upcoming remake of 21 Jump Street .

Warner Bros. to turn “Supernatural” into an anime

If today you feel a wave of “WTF?” wash over you, check your nearest “Supernatural” fangirl for the source.

For according to Anime News Network and Cinema Today, Warner Bros. and acclaimed anime studio Madhouse are teaming up to turn the hit show about brothers who fight against the dark forces of the world into an animated series.

From the ANN article (because I can’t read Japanese):

The anime project will not only remake the best episodes from the live-action version, but also depict original episodes not seen in the live-action version. Those original episodes will include prologues of the Winchester brothers’ childhood, anime-only enemies, and episodes featuring secondary characters from the live-action version.

The project will be co-directed by Shigeyuki Miya and Atsuko Ishizuka (“Aoi Bungaku Series”), and there’s no word yet on which Japanese seiyuu (aka voice actors) they’ll get for the project.

Warner Home Video Japan will be releasing the 22 episodes on Blu-Ray and DVD in Japan over three volumes starting on January 12, 2011; no work on if there will also be an English-language release.

Inside the Lines: Romance author invades comics world, and other stories

  • In the “Damn, they stole my idea” department, New York Times best-selling romance novelist Janet Evanovich and her daugher Alex teamed up with Dark Horse Comics to create a graphic novel called Troublemaker featuring Alex Barnaby, a female racecar mechanic whose vantage point as a raceday spotter leads her into mystery and intrigue. The art is by Joëlle Jones (Dr. Horrible) and volume 1 will be out just days before the annual Nerd Prom in San Diego this July. (Source: Newsarama.com)
  • American manga artist Amy Reeder (Fool’s Gold) has “graduated” to the big times and will be penciling DC Comics’ upcoming ongoing Batwoman series starting with the second story arc which will see the light of day in early 2011. She’ll be working on scripts by artist/co-writer J.H. Williams III, whose pencils will kick off the series later this year. I’m rather hopeful about this prospect of seeing more female pencilers working on “Big Three” books, and really hope that she (and the book) does well. (Source: Newsarama.com)
  • After taking heat and a lot of licks for his underperforming directorial debut for The Spirit, comics artist Frank Miller is returning to the medium that made him great and revealed some of the first pieces of art for Xerxes, a 300 prequel story about the leader of ancient Persia who was the antagonist in the numerically-named film/comics series. Scheduled to be published by Dark Horse Comics in 2011, the ouroboros will begin its turn and if director Zach Snyder likes it enough, he said he’ll option it for a live-action adaptation. (Source: The L.A. Times Hero Complex blog)