Treking Along, One Hit at a Time.by Bryce VanKooten
J.J. Abrams is the Apple® of the cinema – he’s just better than everyone else. Everything he does, every idea brought to the drawing table (board?) is matched with superb in style, fresh execution and noticeable dedication to story. Its masterful; that pretty well covers it.
I was giddy for Star Trek — the newest, Abrams-Directed, 2009 installment of the classic 1966-originated story and characters. Mastered with a bright young cast (including my friend Michelle!), all of which preformed wonderfully in their depiction of their characters on screen, it was only fair that I got to see a movie ‘fresh’ for once in my life (I’d read the LOTR and Harry Potter books, had the Da Vinci Code spoiled for me and discussed Watchmen, at length, before its opening). Star Trek was/is a fan boy’s favorite, and I was happily not one of them.
Throughout the first half hour I urging myself not to lean over to my fellow moviegoers and whisper, “Man. This is so good”. It didn’t seem right. There’s something volatile about talking during a movie other than a comedy. My eyes were glued. Sidenote: are you seriously telling me that Wolverine and Star Trek basically cost the same? What? My ears were glued. And yet I’d read that Michael Giacchino dropped the ball on the score … bullocks. My mind was glued. Yes, there was a bit there when I realized it very well could have been a Wednesday night because that haunting, this-is-the-feeling-I-get-when-they-talk-about-time-travel-in-LOST, feeling was creeping up my spine, but all and all, the plot was feasible. Okay, so we created a black hole, discovered an alternate reality and traveled between the two, meeting ourselves and destroying new lands. But honestly, did anyone get that lost (no pun intended)? It was altogether manageable, was it not?
It was brilliant.
Abrams has found some keepers in Alex Kurtzman and Roberto Orci, his writer’s dejour (as well as Arthur Anderson, who directed the opening scene where the woman so marvelously gets sucked out!!). Together, they’ve scribed a mighty track record in the last few years with seeming success around every turn: Fringe, Alias, Transformers, Mission: Impossible III, The Island, and their upcoming successes, Transformers 2 and the Untitled Star Trek Sequel, due out in 2009 and 2011, respectively.
I was blown away by Spock (didn’t even know he was the smartest ‘man’ in the world until the movie told me — what fun that was), but Chris Pine managed to successfully steal the show as James Tiberius Kirk. He was marvelous actually — funny and charming, the perfect concoction of cocky and courageous. I’ll be blunt: the ‘diving down to stop the drill’ scene: worth the price of admission, easily.
Abrams hasn’t veered far from his roots. Many of his films are good at the same things, which is to say, I think we’re all fine with that. But maybe the Academy isn’t. I don’t think Abrams cares much about what those guys think, which might be a subconscious reason why we love him: he likes what we like. There’s that fine line Abrams always manages to walk between humor and drama: never too subtle, never to forceful. He’s a master of every situation and possibly one of the greatest story tellers of my generation. If I ever met him, I’d love to thank him for that. I hope story will always rule this land.
Action is obviously Abrams’ style and his unmistakable strength — those trademark camera shakes never seem to be mellow dramatic — but its not his only strength. He’s managed to brand great storytelling into his films, great amounts of witty, perfectly placed humor and ease, so that we almost expect it now. We know he’s thought this all the way through, and that’s a safety blanket of sorts. How do we know? Because we can tell he likes making movies. Amidst the clouds of massive, action riddled box offices, Abrams is breath of fresh, virus-free air. Again, like a Mac.
I’ve said this before and I’ll say it again: I’m willing to resign myself into blindly purchasing great products, even great marketing. I buy Stride because of their viral marketing style. I bought Red Stripe because their commercials made me laugh – same with Dos Equis. I drive a Honda because they are dependable and write on an Apple computer because, well, its obvious*. My childhood was formed by Nike, so I wear their sneakers. And Fiji Water, though it cost twice as much, has an awesome bottle so sometimes I cave to their coloring. My purchases are my right as an American. It makes it fun again to be a consumer. It’s very American to choose. As stated, Tom Cruise has won me over; I’ll see whatever he’s in because he’s in it. Abrams is now the same**.
I think of my theater tickets as a little investment. Who gets my investment is a decision I get to make every time I plop myself in the seat. From here on out, I’ll gladly go blindly with Abrams.
*see line 1
**The opposite is true for Eddie Murphy; I won’t see it if he’s in it, unless it has ‘Shrek’ in the title, even then, its not really him.
It’s back to the land of the LOST. Except this week – it’s not so cut and dry. I mean, the castaways are back. Some of them at least, but this time the rules have changed. As always, Thursday morning was met with a recap of the previous night’s episode. I’ve heard many takes on this week’s (218/09) sode’:
“You [we] learned absolutely nothing in 58 minutes of Lost that you didn’t know in the first 2. Complete filler.”
“It was good not great – talk about a bunch of biblical references.”
“I like the bible stuff – the writers are so smaaaart!”
“This may be my favorite episode of the season, thus far.”
And to think that the first and last comment came from two people who use to be dating.
It was really until this morning that I realized that this episode really was something great. Granted, it was a caught-in-the-middle-of-a-much-bigger-story episode, but was that all? This week we opened with what we all thought was a flash back to the pilot. It was not. And we soon realized – crap, they made it. They made it back!? Then we got one of those 52 minute story’s explaining how they got where they just told us they’d be. Part of me felt like we could have done without that. Let me get straight to the point, though.
The most intriguing thing about last night’s episode was the fact that each person onboard the flight had to recreate the original flight sequence. We saw this clearly play out with jack putting his father’s shoes on Locke’s dead body in order to recreate the original flight. We also saw this when we noticed that Sayid was handcuffed to an officer of the law in order to become a proxy for Kate – who was in a similar boat on her maiden flight. And I thought that was it. That must be that Jack was himself, Hurley the same and Sun, too, right?
Think about it. Here we go.
Locke = Jack’s daddy – coffin-ized
Sayid = Kate, cuffed like a renegade.
Hurley = Charlie, with his guitar and carefree spirit (I made the second part up)
Sun = Sayid, who was looking for a lost love
Ben = Hurley, both ended up being late to their flights
Jack = Jack, because he is weak, and the only person weak enough to play Jack, is Jack himself. Pussy.
And now for the kicker….
Kate = Claire (Kate is prego with Jack’s baby from the night before). Whooooaaaa.
What is going to happen to the extra business classer’s that we got to meet briefly in last night’s episode? It hurts my mind to think about. I’m sure they’ll somehow find a gun, point it at someone and die – or they’ll shoot at someone in a raft as they’re paddling away, just before they jump points in time – wait a second!? Eureka!
As for Ben and his gladiator face, I think it’s obvious that he tried to kill my love, Penelope. Can’t you just see Ben about to execute Penny the same way Widmore’s boy Keamy did in Alex? And then, in walks Desmond – all excited because he just told Ben he wasn’t going to The Island. And then as Dez realizes that Ben always gets the best of everyone, Ben softly says, “Desmond, this doesn’t concern you. But if you stop me, I will hurt you.” What’s the only way Desmond will go back to the island – if Penny’s in trouble right? Maybe she dies, or is really hurt and the only way to save her is to go back. Back from where he once came.
Side note: Jack’s character arc coming on around with the inclusion of doubting Thomas (Jack: someone like me exists?!) and the Good Will Hunting-esque, “it’s not your fault” moment from Ben — of all people — was outstanding.
This is all turning out to get very good. Geeeeez, I love LOST.