The basic story revolves around newly hired radio DJ Grant Mazzy (Stephen McHattie) that has found himself in the doldrums of winter while still trying to bring his fierce anti-persona to the airwaves.  He assisted by his smart yet vulnerable producer Sydney Briar (Lisa Houle) and his young just back from military duty technician Laurel-Ann Drummond (Georgina Reilly).  What begins as a simple day of weather related closings and community interviews (Lawrence of Arabia as a musical anyone?) turns into a potential world threatening cataclysm.  That is, if it’s not a hoax as Mazzy believes.  That hoax is quickly dispatched as the reality comes flooding in from first hand accounts and government involvement.  The twist is that these “zombies” are not zombies in the traditional sense.  Before you read the next paragraph, I am going to reveal a few plot points that may ruin the film for you.  So stop reading now and join us later in the review.

The zombies are created by language and feed off other humans to find another host for what I can only describe as a word virus.  Dr. Mendez (Hrant Alianak) describes this in the film as becoming infected when you truly understand a word, hence the zombies being attracted to people talking and their continued repetition of words.  In fact, you know someone is infected when they begin repeating a word.  Scary concept, yet made less effectual by the virus only working for the English language.  Had this film been aiming at a serious plot, I’m quite sure it would have been a bi-lingual virus at the least.  However, English virus it is.  The reason for English is never explained, but I would think it is either due to the fact that it came from a secret MLA test facility created by Grammar Nazis or someone has a big problem with English.  You do just have to overlook this in the film, but it did give me a bit of a setback for my enjoyment.  I kept thinking about Neal Stephenson’s Snow Crash and how you can truly make words a virus.  While not a blockade to making Pontypool a good film, it did give me that feeling that the film missed a chance.

At this point, you can rejoin our discussion.

Pontypool had set itself up to linger in a B-movie hell, but then it rose from the ashes by providing viewers with acting and direction that elevates the film to almost A-movie material.  The characters of Grant Mazzy (Stephen McHattie) and Sydney Briar (Lisa Houle) work well to create a quirky and meaningful performance.  McHattie has the look of a man that has been around the block a few times (the cowboy certainly should remind you of another radio host).  His grouchy old man act gives the audience a great opportunity to experience the magic of casting.  Other actors may have run with the fear or desolation angle, but McHattie gives us the crazy element that opens the door for humor and seriousness.  Houle’s performance may not be wonderful on her own; but as a contrast to McHattie, she works well in providing his character with the needed grounding.

All of the characters work because director Bruce McDonald forces them into a bubble.  The confining nature of the actual set and his cinematography isolates them, eventually allowing the viewer to experience the zombie phenomenon on a personal level.  I was surprised that we are really never shown anything beyond the studio (church basement).  However, it works to enhance would could have been a simple slash and gash zombie chase.  It served as the winter prison where emotions and actions become desperate.

Pontypool never takes the viewer to the battlefield, only offering side notes to the greater story.  Yet, that’s what makes the film stand out from other films of this nature.  We are able to experience another side to your typical zombie film.  A side where helicopter weathermen drive station wagons and kill can mean kiss.  I found that Pontypool is entertaining and quirky, but that it will perhaps stay in a niche category.  Fans of zombie or horror  films may be disappointed, but this small little film does provide an entertaining experience.

The slow methodical pace of Moon harkens back to old school hard sci-fi where the science is really only a tool to a deeper understanding of human nature.  While we have moments of action, most of the film is about interaction.  Even when we venture to the surface of the moon, CGI is replaced with models that look more real than any computer generated futuristic rover.  The intent was not to wow the audience with glitz and glam, but wow them with substance.  Although this methodology works for the most part, it does take some time to introduce the core of the story.  By the time we get to the heart of the film, many viewers may have already predicted the twist.  While I will not discuss the twist here, I will warn you that the rest of the review has to reveal the twists so that the review makes sense.  So stop reading if you do not want to know the entire story.

The highlight of this film is certainly Sam Rockwell as Sam Bell, HE3 miner on the surface of the moon.  He has a three year contract before he can go home.  Rockwell’s initial performance in the film is reminiscent of Tom Hanks in Castaway.  He is faced with no other human interaction and only has GERTY (Kevin Spacey), the stations artificial intelligence machine, to keep him company.  Volleyball compared to a self aware machine?  Perhaps Rockwell does have it a bit easier than Hanks, but the perfomance is still stellar.  All this changes when we meet Sam Bell (Sam Rockwell).  You heard me.  After a mining accident, we are suddenly thrust back to the station and see a more gung-ho Sam in a much cleaner space suit.  In a short while, the audience is rewarded with a rescue of Sam, by Sam.  Honestly, this is where Rockwell’s performance hits its stride.  He plays clones of Sam Bell that are reflections of the original Sam Bell (who may have never gone to the moon or may have died landing there) but at different points of their 3 year contract.  One who freshly sees the reasoning for clones and sets out to break free from the Sam cycle and one who has reached the end of his three year life cycle, finally facing the end and finding out the real story behind Sam.  The back and forth between the two Sams is humorous and serious, demonstrating that Rockwell is certainly an unsung talent.

The film works because we are essentially forced to reflect on what it is to be human.  By forcing the viewer into a relationship with Sam, we need to face the idea of our own mortality and the ethics of not only cloning, but human life.  Once you add the self aware and human-like GERTY, the question becomes what makes us human?  While one could point out other films that deal with clones (The Island and Parts: The Clonus Horror), Moon moves beyond the basic ethics of clone creation to a deeper layer of questioning of the basic principles of humanity.  When Sam is faced with the information that his wife has been dead, the clone reacts with sadness and grief one would expect of the real Sam.  Yet, these feelings come from implanted memories and not reality.  Moon works more on the level of Blade Runner.  The viewer is given the viewpoint of the clone (or possible replicant), which muddies the water of reality.  Are we human because of our memories?  Or are we human because of our actions?

Moon is a truly thoughtful film from a first time director.  Jones has realized that all the money in Hollywood only helps make a film pretty, it does not help the story.  While there may be some issues with the film with pacing and editing, they are easy to ignore.  However, much is left in the air.  Is the film good due to Rockwell’s performance or Jones’ directing?  There is certainly space for a sequel, once which I wouldn’t mind seeing.

Is Zombieland as good as a wonderfully spiced and warmed Pumpkin Spice Latte?  In a very extreme way, yes it is!  I had no preconceptions as to the plot, I honestly could have cared less about the plot.  My goal was to laugh.  I wanted a diversion, not unlike the diversion of a Pumpkin Spice Latte on a cold day.  I wanted a film that warmed me up with laughter, much like the before mentioned latte.  Zombieland certainly delivers laughs and does so with multiple levels of humor.  We have intellectual humor with the rules of Zombieland dictated by Columbus (Jesse Eisenberg).  We have physical humor on the level of watching people get hit in the nuts on America’s Funniest Home Videos.  And finally we have humor on an absurd level, not unlike the absurd flavor of a Pumpkin Spice Latte.  I really enjoyed being able to sit back and just let my critical eye go – but that in itself is not always good.

While I am very fond of Zombieland, the plot was lackluster and highly derivative of every other zombie film.  Due to the lack of a solid plot, you find that the humor carries over into serious moments as well.  I laughed at inappropriate times, and so did the rest of the audience.  Not too mention the lack of any solid sense of reality or probability (think of this as the being able to get a Pumpkin Spice Latte from the gas station, it just doesn’t make sense).  Only 5 people are alive in the entire film, and yet we travel cross country.  And at some point, isn’t it inevitable that death will come with vengeance?  Of course then we can’t have a franchise.  Seriously, I have some issues with a complete neglect of believability.  On one level, I want to tell that part of me to shut up and go get a Pumpkin Spice Latte and just enjoy it for what it is.  On another level, I want to demonstrate that other films have successfully merged this idea with a somewhat substantial plot (Shaun of the Dead).  And not to mention that there is no way that Wichita (Emma Stone) is wearing a white t-shirt that is perfectly tight, a bit see through, a bit revealing and yet not dirty.  I wonder who the demographic is for Emma Stone in a tight, slightly see through, slightly revealing t-shirt is?  Oh, no wonder I like her so much!

Speaking of the cast, whom I’m sure enjoyed a few Pumpkin Spice Lattes on set, I had no real problem with any of the casting mainly because there was no major plot.  Emma Stone provides us (meaning anyone attracted to Emma Stone) with eye candy with an attitude.  So I’m a sucker for heavy mascara and a slight punk attitude, sue me!  Jesse Eisenberg is simply there as a narrative pussy.  Yes, I said it.  His character is an accidental survivor, but this attribute makes his character all the more lovable.  In addition, his voice over combined with the initial rules and titles really works well to move the movie out of the ordinary and add a bit of glitz.  Little Rock (Abigail Breslin) is straddling the fence between kid actor and teen actor and only provides the audience with the cute character that should need protecting but it turns out she is just as bad-ass and independent as all of the other characters yet still has the innocence of youth.  So in other words, completely forgettable.  Which brings us to Tallahassee (Woody Harrelson).  This happens to be a role made for Harrelson.  While this may not mean Harrelson is a great actor, it certainly means that sometimes casting is everything.  It works because Harrelson is the the everyman that really sees the zombies as redemption.  If you’re going to kill zombies, you may as well have fun.  Too bad it reminds me a bit of Mickey Knox, without the intense desire to be famous.  Although if you replace that with an intense desire for Twinkies, you may have a case.

To me, Zombieland is the Pumpkin Spice Latte of film.  It can surprise you at times with its spice and warm your heart with its just right temperature.  I won’t ruin the moment, but there is a moment where you do have a hint of a plot and it certainly is a heart warming revelation.  Aside from the humor and outright violent fun, Zombieland serves as a diversion from blockbusters and art films.  In age where you either need to make money or be critically acclaimed, it is refreshing to see a film that knows what it is and accepts its role.  Take a break from seriousness and enjoy Zombieland for what it is.  Now I must go get a Twinkie, are you ready for your Pumpkin Spice Latte?  (You see what I did there?)

Netflix – Hands down the best way to obtain any film in my book, but there is a cost.

Blockbuster – Anyone use Blockbuster online?

GreenCine – I don’t use their service because Netflix has most of what I want, but for obscure titles this may be the way to go.

Online Resources – Some of the older films are available streaming on the net for free such as many of the Edison shorts.  But what about French New Wave or Bollywood?  YouTube does have a few but those are dubious at best.  Do any of you have your favorite streaming sites?

Libraries – Most libraries can get DVDs shipped in, but I worry about time and availability.

Are there any others I’m missing?  I even thought about a loan program via the mail for one or two select hard to find films.  But then I would have to threaten students with an F if they do not return or pass the DVD on.

Obviously the film is about aliens, not much of a spoiler there.  However; while District 9 firmly places itself in the canon of alien films, it never feels like an alien film.  There has been much talk about apartheid and race relations, yet even without those discussions the film creates this air of humanity that simply cannot be missed.  The aliens become more than just aliens, and not in the ET kind of way.  I am quite sure that no one gets all warm and cuddly about the prawns anymore that you would get warm and cuddly over sharks or poisonous jellyfish.  There is a brilliance in being able to take a disgusting creature that the audience can engage with on an emotional level.  We empathize with their plight simply because the plight is all too human.  The real key to this interaction is that it is not an in your face style of message giving like other “message” films.

One aspect that is not discussed is the transformation of Wikus Van De Merwe (Sharlto Copley).  I do not want to give too much away but I think it’s important to take notice of the Kafkaesque metamorphosis that occurs.  Copley’s acting provides the viewer with a very realistic point of entry into the film because he reacts much like any of us would given his situation.  Yet in his transformation we are confronted with a “what would you do” commentary backed with the opening of a can of cat food (or worms if the metaphor doesn’t work).  His path leads to the inevitable yet somehow moves the viewer to emotional depth that is just not possible without the transformation.

Beyond the well written script, the film also has a good grasp on effective techniques of film-making.  Typically, aliens would equal really big explosions and fight scenes that would cost in the millions.  Don’t get me wrong, District 9 has its share of those – but without the pompousness associated with spending millions of dollars to give the audience those  look at the masturbatory nature of my film-making moments that accompany many Michael Bay films.  District 9 works with a lower budget to produce more succinct effects that work with the film rather than work outside the film.  Even the mixing of narrative style and documentary style works very well and adds to the ambiance of the film.  I hate to say welcome back to old school sci-fi, but this film certainly feels more like those films that anything else.

At one point, The Matrix existed as one of those films that works on many levels where the sci-fi elements were used to discuss ideas in a freer manner than a straight forward drama could.  Then they made the sequels and pissed on a truly extraordinary film.  The only downside to District 9 is that there is a very good chance that a sequel will be made.  I beg of the studios and Neill Blomkamp, do not go bigger budget and become a laughing stock.  I hope to look back at District 9 and not feel that the film is tarnished by a studio and director that want to go bigger just because they can.

District 9 was more than a perfect summer film, it was a layered experience that can lead to meaningful discussion and the opportunity to look at ourselves.  While other films may hit you over the head with their message, this film’s subtle delivery (so it’s not totally subtle due to the location) allows room for many interpretations.  There is something more to District 9, it’s just up to you to decide what that something is.  I could end it there but I do have one more fanboy thing to add…using a pig as a weapon was just the icing on the cake!

The basic premise is that Ángela Vidal (Manuela Velasco)  is a local reporter that has the great (sarcasm) job of chronicling the life of an overnight shift at a firehouse.  All is well until they actually get a call, except it’s not for a fire.  Instead they are called to help an old lady out of an apartment.  Once inside, the old lady is quite unhinged and the building is sealed off for no apparent reason.  Then all hell breaks loose as a mysterious condition begins taking over and people die.  Did I forget to mention that they become zombie-like (think 28 Days Later zombies).  While the reasons for the zombie outbreak need to remain a mystery, they are still a bit convoluted after the film ends.  They are just outlandish enough to be believable but not too far-fetched to ruin the film.  The story may not sound like much, but the story is not the reason this film works so well.

The first person perspective initiated early on is both brilliant for the film but also introduces my one overwhelming problem.  The story would not work if it weren’t for the audience being drawn in by the first person perspective.  Not only does it bring the viewer closer to the action, it also emotionally draws the audience into the mindset and thought process of our intrepid reporter and the cast of supporting actors.  The viewer becomes a part of the film.  I found myself becoming more frightened and more on edge simply because I was wrapped up in the unfolding occurrences (which also could be attributed to a few too many cups of coffee late in the day).  I could easily compare this feeling to what is felt when you are watching Grace Kelly in the apartment across the way in Rear Window.  There is one major difference, James Stewart eventually put down the binoculars.  Our resident cameraman Pablo (Pablo Rosso) only puts his camera down once or twice to help and engage in the action.  Even though he is faced with people or things trying to kill him, he diligently keeps that camera in focus and on the action.  And that’s where some of the believability casually leaves the film.  At some point, he would have put the damn camera down no matter how dedicated he may be in capturing their situation.  Of course, this is why it’s a film.  If the camera would have been put down, the film would have been over.  A small annoyance in a generally excellent film.

Another layer to this film was the addition of many non-professional actors that were given no direction and no prior notice of what was actually going to happen in the film.  By chance or brilliance, they were natural and acted as someone genuinely would in the situation they find themselves in.  Yet another reason that the audience becomes part of the film thereby enhancing the fear.  Was I scared?  More than I’ve ever been since watching Ju-on.  To the point that I had to cringe a bit toward the end.  Why?  Because unlike The Blair Witch Project, there is a payoff for staying with the shaky cam.

It takes quite a bit to move me to such a strong recommendation for a horror film since I typically find that they never follow through on their promises of fear.  [●REC] is scary and more importantly, well crafted.  Jaume Balagueró and Paco Plaza provided viewers with more than just another horror film.  [●REC] is a horror film that should me mandatory viewing for anyone interested in using first person camera viewpoints and anyone trying to capture the audience’s attention.  Please don’t watch the remake, watch the original.  [●REC] is now one of my favorite horror films, and it should be one of your favorites as well.

Yes, I am writing a blog posting about my new pen.  You see, being a lefthander that never learned to properly slant a piece of paper has lead me to the wonderful world of smearing ink every time I write.  I have tried many pens in my life and only a few have been decent enough to pass muster.  That was until I found the first Sharpie pens.  They were a dream pen, only smearing in one journal.  I mentioned this to @sharpiesusan on Twitter.  She decided to send me more pens, including the one pictured above.  The one that you can’t get yet because it’s not being sold until fall.  The ultimate piece of plastic and clickable metal-like substance that produces a Sharpie pen point filled with that Sharpie ink goodness.  If I sound a bit overwhelmed, well forgive my excitement.  This is the future of pens for me, my clickable Excalibur.  We shall slay dragons (grade papers), defeat cyclops (write in journals), and defeat evil wizards (take notes during meetings).  So raise your grog and drink to Sharpie.

A bit too much perhaps, it’s a great pen.  Now I just have to conserve ink until fall.

I’ve been dealing with a consistent and widespread problem in my professional life.  As a professor, you are required to have a certain amount of office hours in a week.  In addition, as a virtual professor you also need to have online office hours to satisfy the needs of those students that cannot present themselves physically in your office.  There is no question that these virtual hours are necessary, but what is the best method and technology to use?  How about we take a look at a few options that I have had experience with.

Pronto – This is may de facto educational IM program.  It works like any other instant messaging program except that is is tightly integrated with the CMS my school uses (Blackboard).  It self populates my classes each semester and provides options for voice chat.  This is actually a decent program except for two things:  students are not using it and are not contacting me when I’m in my virtual office.  Based on a down and dirty survey (in other words students complaining), even the ease of installation does not help the students get over the fact that they have to install yet another program.  For some students, even getting them to navigate Blackboard can be difficult.

Skype – While Skype is essentially the same as Pronto with better features, I shy away from it because I tend to use it more with my colleagues and family.  Has anyone tried this in a professional capacity?

The CMS – Many of the available CMS options (well as of now Blackboard it seems after the recent purchase of Angel) feature a chat function that allows one to create a virtual room for office hours.  I never really liked this with Blackboard because I had problems with it on my Mac and even my laptop now has some funky issues when I try to chat.  Ultimately, if I’m experiencing issues then I have no doubt that students are facing them as well.

Twitter – Is it possible to use Twitter to monitor office hours?  One could theoretically monitor their Twitter feed for an hour and see if any students @ them and then respond in the same manner or through a direct message.  Doesn’t quite have the same feel as a synchronous chat.

Adobe Connect (or other web conferencing software) – My school recently purchased this for our use and I am certainly going to use it to hold special lectures with my class, but can it be used for office hours?  This will be my next adventure in virtual office hours.

I’m sure there are a few more options out there (Second Life?), so let me know via the comments.  What have you found that works for you.

Finally, when should we have our virtual office hours?  I tend to try and be available in the evening after 9 PM until perhaps 11 PM, two or three nights a week.  It seems to be working except that students rarely contact me during that time and end up chatting when I get on in the morning or even in the afternoon.  It all seems very random, is there a way to effectively schedule online office hours?  Based on student tracking, I’m beginning to think that having office hours at midnight may be the best time.  Then again I do want to sleep (ask me about the IPL shifts during the overnight hours…lol).  What has worked or not worked for you?

I realized that I also place the word “sweet” in my Kamikaze Girls‘ review, which means I’m establishing Nakashima as a sweet director.  I should certainly clarify that because he is sweet like Guillermo del Toro.  I find it nice that a director can be fanciful and outlandish yet still be able to reign a film in and get to the point.  So what if Paco and the Magical Picture Book made me cry.  And this was no ordinary cry, it was a heart wrenching soul baring barrage of tears.  I was bawling like a baby that had his rattle take away.  Of course this makes perfect sense because Paco and the Magical Picture Book is very similar in concept to Pan’s Labyrinth and The Princess Bride.

The story revolves around a slightly twisted hospital where the patients are not what you would call typical.  Even the staff, on which Tamako (Anna Tsuchiya) works, has their own hang-ups and idiosyncrasies.  We are introduced to a powerful older businessman Onuki (Kôji Yakusho) that essentially wants no one to remember him because he feels completely inadequate since being removed from his company due to a heart attack.  He is a complete bastard to put it mildly.  He is so evil that he hits a little girl, who turns out to be Paco (Ayaka Wilson).  Onuki is distraught but is taken beyond that once he finds out that Paco has her own medical condition.  She suffers from a mental illness that erases her memory every day.  Each day is a brand new day without memories from any of her past beyond the day her parents died in a car accident.  The same accident that caused her illness.  Onuki then seeks to give Paco that one staying memory in hopes of repenting for his own sins and possibly curing her.  Then the tears come in waves.

After such a great introduction, I wish the beginning of the film was as good as the rest.  I actually was about to stop the film because the beginning was filled with spacious moments of introductory character development that had no weight.  It’s not until Paco and Onuki become the centerpiece dies the film really flow.  Even the animated aspects make perfect sense as we see the film through the eyes of Paco’s Magical Picture Book.  I think that the acting from the supporting cast may actually be a hindrance to the film at the beginning because you are continually trying to discover where the film is trying to go.  We get a parade of medical and mental issues without much reasoning, until the end of course.  These side plots are essential to the final resolution but are tedious.  Give the film 3o minutes of leeway at the beginning and you have a truly fabulous quirky comedic drama.

Paco and the Magical Picture Book is a touching film that may be outlandish but it’s within that realm of fantasy that we are free to express emotions not acceptable in real life.  Onuki shows that love comes in many forms and that true redemption is not always possible unless it begins with forgiving yourself.  We cry for Paco and Onuki, mainly because there is a false ending that begins the waterworks.  And then we cry again on a whole new level when we realize the truth of the ending.  While this film may not appeal to everyone, it certainly should be given a chance.  Sometimes a cathartic experience is just what the doctor ordered.  In this case, I get Anna Tsuchiya as my nurse.

An iPhone is not the best camera, but sometimes the accidents are great.