Ramona Still Sings (Feelings on the Scott Pilgrim series)

When the time came for me to share some thoughts regarding the finishing of Bryan Lee O'Malley's Scott Pilgrim book series, it appears to me that it would be redundant to scale the main plotline, detailing the epic-as-life adventures of Toronto-based garage outfit, Sex Bob-omb's erstwhile bassist, and roundabout loser, Scott Pilgrim and his awakening to more than a Precious Little Life. It's a tale that is universal, told in a way best embracing the awkwardness of a gobsmacked generation awash in mutated, 16-bit blasts of post-irony & tonal distortion. O'Malley's world is not unlike a world not too removed from one I grew up in, surrounded by geeks, freaks, punk-rock posers, cigarettes, and attitude. And while Scott's life has been thrown into a sanctuary-smashing upheaval after falling for the enigmatic beauty that is Ramona Flowers, it is no mean stretch to say that his once comfortable lifestyle of slacking, gaming & freeloading will have to change dramaticaly if he is even willing to live up to this. (And even if it were possible, could it be that Ms. Flowers herself takes interest in aloof-minded Pilgrim merely because he offers a no strings, no hassle respite from the phantoms of a checkered past?)

I'd sooner not delve into how much O'Malley's underdog tale has had a background player role in many of my travels over the years, or that it reminds me of friends past & present. Or that even if many of the characters in his world do not completely connect with my own, yet it somehow retains a certain relatability via the people in Scott's life. From the ever responsible free-spirit that is roomie, Wallace Wells, to Sex Bob-omb's quiet leader, Stephen Stills. From that painful memory of Envy Adams, to the lingering forgotten of drummer Kim Pine, the world surrounding Mr. Pilgrim is an alarm clock ready to ring with the force of a million nuclear tests. Perhaps its better that we don't share that there was in fact a time when likely I felt as he once did. Content, and undermotivated. Trapped in a world of his own making, and unsure of how those around him truly feel, only to be made aware through some natural force as daunting as love. Nah. Not worth it at all.

But I can share that despite certain misgivings I once had about the comics over the years, there are many satisfying elements that hit home with tones honest, and at times sublime. One of the first things that bugged me early on was its latent self-conscious tone, reminding the readers that the author isn't taking this as seriously as perhaps some might prefer. From occasionally referencing past volumes, to marking how far into the volume we are, it can be a put off for many who like their verisimillitude levels high. And there are times when O'Malley lets the story cheat around the fact that the written word isn't as strong a suit for him as is visual panache, which is at times a frustrating trade. Yet somehow, inventiveness becomes a valuable weapon as the books unfold, leaving readers to drink in the wildness of Ramona's ability to subspace travel (sometimes through the dreams of others as short-cuts), and to embrace the overall metaphor of the entire work. Perhaps it is all to be seen as a wacky dream, played out in the slumber of a generation longing to wake up and take on The World. At even at the series' weakest points, the tales hit where they count most,.. when called to action. In a manner that is not unlike the actions of Mr. Pilgrim himself.

But even more prescient for this writer, is the life surrounding the title character.

It is often stated that the best way to start off a continuing saga, is to do so by placing your lead character in the lowest place imaginable at the start in order to allow the viewer/reader to grow. If this is to be so, then Scott Pilgrim is amongst the laziest,most vacuous forces ever known to hero-dom. Much more than Shawn Of Edgar Wright's Shawn of The Dead, or even any of Kevin Smith's schlubby leads, we are looking at a young man-baby who could possibly have had everything one could ever hope for, and yet sees no means of himself within all of it. A child of media overload, and content on crumbs, overdue video rentals, a shared bed, & perhaps marathon rounds within the Mushroom Kingdom, he is much like a bundle of idle pixels, waiting for the princess to come to him with every solution. Something that gives all of the comic's anime-video game imagery in-gags an unexpected punch. To see the trouble his floaty way of life has helped create is made most vividly so via the ladies in Scott's past.

There is no shortage of growing pains that have either transferred almost psychically to his peers, or to these muses in his world that it threatens to poison more than their middling garage band. Whether it be through past names like Lisa Miller, or through his relationship with the underaged Knives Chau, it is crystal clear that if his course remains constant, Pilgrim's problems could only (as Liz once said) exacerbate. Whether he is willing to Get It Together or not, life is coming at him with the force of a speeding train in the form of baggage. Serious baggage. (The element that is perhaps my favorite of all of this.) In the form of seven so-called "Evil exes". Seven souls from Ramona's past, hellbent on reminding Pilgrim of his maturity station, and his inability to hold on to what he doesn't understand. First sight may be bursting with hearts & flowers, but facing against the thought that one wasn't there first is perhaps a silly concern in retrospect. But when one is young, it can crush with a violent force. Which is why Pilgrim is in the thick of it, and must overcome each soul, mastering himself in the process.

And the drama rebounds as the women around him begin to find their respective callings with, or without him in ways both befitting of this type of work, as well as achingly true. Ramona's battles, while not as visually expounded upon as Scott's, have a weight befitting the kind of girl one would hurt others for. The irony isn't lost when it's clear that perhaps she is no different than Scott, disconnected, implacable, and unwilling to dive without a parachute. The Infinite Sadness is all too near, and while it might be true that old loves are what they are, they aren't things easily forgotten, or equally cast aside. This is as much Ramona's fight as it is Scott's, and the wasteland they leave behind is surprisingly tragic at moments.

Nevermind that the series, after six years of reading & waiting, Scott Pilgrim has become a much larger entity than many of us had anticipated. Nevermind that by the time he takes on The Universe, O'Malley has fashioned his own clever little take on hero tropes, even experiencing his own internal Empire Strikes Back. Forget that by his Finest Hour, Pilgrim still isn't sure of his abilities as a hero, a friend, or a lover. And embrace that this madness came courtesy of a fan. Someone with an enthusiasm for similar material, art & music. A reminder that one of us truly hit it off with one of the more generation kindred filmmakers of this generation, and did so by the seat of his pants I'm sure. The victory of Scott Pilgrim is that he never has to wear a mask, or a suit to fight for the future. And that he, and in this way we, can win it epically one stumble at a time.

Scott Pilgrim & The Endless Possibility

There are few things as exhilarating as having a complete set.

And having a roommate who has just taken the plunge, and has responded as well as she has is a definite highlight of a more laid back summer season than usual. To know that O'Malley's long-awaited finale is in the house, a week-plus before Edgar Wright's adaptation is unleashed beyond the Comic-Con crowd. (Which has largely been positive over Twitter. And Drew McWeeny's early review is quite glowing.)

 At the moment, I'm essentially waiting for the roomie to catch up before re-reading, so at the moment, I'm am working off of years of recollection. The comic's impact, for all of its scrappy glory functions as a beautiful reminder of a particular time frame in my own life, and of likely so many others. And as such, the piece works as that bridge between the gears of idle and active. This entire concept is a universal part of Edgar Wright's filmography.(Shaun Of The Dead in my eyes, remains a classic simply because of its own deeper concern with detaching from the womb in a realm packed with overgrown children) Upon hearing of his decision to take on Pilgrim, it was hand  and glove. Few other visualists can nail the hilarity and pain of growing up with such vigor. And even as a larger audience unfamiliar with the snark-biting alterna-hipster world of the comic, the vernacular of Wright and company should help it transcend mere cult status.

As much as I had feared for its box-office chances previously, in a place where INCEPTION can become a runaway success, almost anything seems possible.

Combo Attack!! 's Next Target Is...

And so the radio silence ends, and the real chat begins...


What is the trio to take on for their first official episode of the Combo Attack!! podcast?

Do we even need to say it?



Combining the visuals of comics, the framework of video games to come, and the experimentation of sheer cinema, it's a movie Combo Attack!! was made for.


Soon.

Is INCEPTION Backlash-proof?

 Just had a thought this morning after a week of processing my own personal thoughts on INCEPTION. And I know, this has gone on for several posts now, but it still stands to trouble me that the current wave of backlash against the positive reviews of the film have been characterizing the film under expectations that are unbecoming of what the finished product seems intended.

The larger concerns over the film's flaws (upon certain restrictions do exist, just so there is no illusion implied on my part) as undermining hyperbolic views of the film as "too-intellectual", or "perfectly constructed" are more that these positive reviews are overlooking elements of a work that took nearly ten years to write, from a filmmaker who has been famous for meticulous, borderline obsessive in his storytelling technique. As if looking desperately to find a weakness in the armor like so many eternal malcontents, is more evidence of a viewing community out to head another Shymalan at the pass, as to avoid some kind of imagined betrayal that has yet to happen. In order to be spared the pain of another Phantom Menace? Are we still smarting from that one?

Never again, the connected public seems to want to say.

That said, I can see where some views see the film as less heady as Nolan's previous works. The film seems a lot less interested in following through on its own rules than MEMENTO, or even The Prestige. But as films that explore the fragility of rules, they are only pieces of a larger creative whole. To see INCEPTION on the same exact field of reason is (for me anyway) to miss out on what is Nolan's big moment to have a little fun with his craft thus far, to not play by the same elaborate design schemes he's so relied on before. While many "totems" of his past films are in full-force here (the dead love interest, guilt-ridden leads who make matters worse for themselves and others, etc), the films thrust is to blast through all prior concepts in a Greatest Hits fashion, whilst offering a conversation piece that is more introspective than many folks are considering.

From an authorship perspective, the piece is less a puzzle to be solved, and more a look into the process of filmmaking from the mind of someone enraptured by the possibilities inherent in audience participation. It's something that came to mind hours after viewing it, that Nolan's films seem by design to be interactive pieces.

To be led, invested, misdirected, and enthralled are his hopes with these works. Just as the participants in Cobb's group are meant to spin a fiction for us to inhabit for a brief time in order to inspire change within a single man, we are the larger fish filmmakers are after. They may not always attain the intended results, but it is in the collaborative attempt that these "jobs" fuel their fire. All one needs to do is to look at the cast, and recalibrate them as writers , art directors, stars, and executive producers, the film's intentions become alarmingly clear. And as Nolan had said once before, the heist film is that rare genre trope that allows for consistent exposition. It makes a perfect analog for the film creation, let alone any major creative endeavor.


Using this "through the looking glass" approach may seem overtly reductive (and for some, may even cheapen the end product), but it just stands to reason that after a short run of highly commercial successes with the Batman series, it felt time to do something personal. The only reason we see so much talk of summer blockbuster is merely because the year itself has proven itself to be a pretty bleak one for film. And when your only heavy hitter is a 200 million dollar art-house piece, you know things aren't well for the industry. That said, it is exciting to think of such a  film as commercially viable in an age where studios are tightening what is left of their belts, and are inches short of breaking out the barrels.


 To consider that they'd allow a labyrinth-minded explorer of the human condition the ability to run wild with his personal obsessions and inspirations, it's a surprise the film wasn't an unmitigated disaster.Thoughts not meant as a pass of immunity, but rather a reminder of intent over expectation. Had this been a film that was truly about a heist, then it'd be a different outcome for sure.


 On its own terms the film is more a means of entertaining what would otherwise come off as esoteric ideas, unfit for film. But for me, this is a massive part of what makes it so entertaining. To see these wild ideas through such a logic-leaning mind makes for an interesting paradox of art versus the literate. But the sum is larger than the whole, not too unlike works of auteurs of the past. It is a paean to the wonder & curiosity of storytelling, and a love letter to film in general.

Armond White And The Nature Of The Troll

Listening to Armond White's rare appearance on the Slashfilmcast earlier today, and was caught in feeling that not only was the man's intense disdain for the films of directors like Christopher Nolan unreasonably old-fashioned, but is telling about his entire reputation as an internet troll with a soapbox. The New York Press-based writer has become notorrious in his often contrarian for their own sake reviews of often critically praised works, including Nolan's previous film, The Dark Knight, and yet heaps praise for directors such as Michael Bay.(now there's no accounting for taste, as the old saying loops)Perhaps on text, it all does seem as if this educated writer could in fact sum up the acumen necessary to back up his views, but upon listening to this week's appearance, it comes off the way many of us had feared, that it may either be the elaborate work of a would-be troll, or simply the fearful words of an outdated model of film criticism.

And therein lies the issue with not only film critics, but also with anyone in a position of influence who takes offense toward evolving methods of communication. If you have a strong position that is counter to popular acceptance, you'd better bring not only your intellectual A-game, but you must also come armed with  open context based upon new data. An understanding of the modern audience is an important element. Even when I personally find a film remote from my liking, despite mass appeal, it is important for me to attempt to understand why. What Mr. White seems to rally for, is a return to an era of film that has not only long past, but will never be returning.(even going so far as to claiming that Roger Ebert was responsible for the downfall of film criticism) And perhaps it is this that he feels threatened, in a needy position to justify why he feels lost with current , and ever warping storytelling methods, even if they are attempting something ambitiously new. Without the reservoir ready in hand, it is natural to see the world as a naturally occurring spiral of negatives, but the explanation is a massive part of what makes journalism so vital. But when asked about certain direct questions via slashfilmcast host, David Chen, many of his answers were of the "no comment" ilk. This method of explanation does little to continue the discourse of film, and art in general.

His comments regarding INCEPTION couldn't be more naive & one-sided. Again, sharing words more akin to short-attention-spanned viewers than an actual historian of the filmic arts. And this is about a mainstream piece that attempts to utilize a more literate approach to the proceedings. To reduce the themes and ideas of the film to merely video game fodder,..feels like he didn't really watch the film after all.

Which reminds me of many a time where I have been wondering if I myself could come from a similar cloth, to perhaps being a contrarian myself. Upon which at the end, I would resoundingly conclude with a simple, no. For me, it is more an exploration into finding what makes a work connect or not, while seeking out the jewels that must speak to certain folks. It isn't always easy, but the needs for an empathic link with the audience and for an observant eye for intention are crucial. These elements are perhaps tenets of certain critics not Mr. White, but I will state that for one, I prefer to read from, or listen to. To merely shut off, and not clarify what isn't coming across is dangerous in any field of communication. After all, the internet itself can be seen as an eternally intricate series of meta-conversations, and trolling is not unlike contextual pornography.

It serves a segment of an audience who wishes to hear it at the cost of actually communicating, or even creating.

As much as I admire the gall with which he speaks, it would have been nice to have seen a more even-ended glimpse toward understanding what makes such a mind tick. But the problems multiply throughout the recording, making it clear that this is merely conjecture, blasting out in order to get a rise out of film fans, and offering little for us to really chew on. To be true, there is a history of film to be appreciated, and much to be learned, but to merely raise a nose up in disapproval without any will toward clarity does little to bridge gaps, and serves to create more.

And to this, may we never mention him here again. Save the attention for someone who can both talk the talk, and walk the walk. Anything less, I can get from a random visit to a Chan site.

Inception (2010) Review

Ideas have become far more important to us than action - ideas so cleverly expressed in books by the intellectuals in every field.  The more cunning, the more subtle, those ideas are the more we worship them and the books that contain them.  We are those books, we are those ideas, so heavily conditioned are we by them.  We are forever discussing ideas and ideals and dialectically offering opinions.  Every religion has its dogma, its formula, its own scaffold to reach the gods, and when inquiring into the beginning of thought we are questioning the importance of this whole edifice of ideas.  We have separated ideas from action because ideas are always of the past and action is always the present - that is, living is always the present.  We are afraid of living and therefore the past, as ideas, has become so important to us.  ~J. Krishnamurti


Praise Be To The Cinema...

To be able to sit here, and express about how a film such as Christopher Nolan's latest probably shouldn't exist in today's film world, and yet does is a testament to the fortitude, and dedication it took such an obsessive mind to unleash it upon the world. Several hour later, I'm still doing my damndest to keep all the best images & thoughts for myself, and possibly failing as human memory often does. Much in the way it has been suggested in his past films, memories often lead toward decisions not completely within absolute control. And the consequences of living a life through captured memories sans the essence of those memories as ripe as they were on the day of their occurrence. To be able to retain that feeling, that place that felt so aligned with everything on the exterior must be one of the greatest longings inherent in the human experience. But for them to fade, allowing room for new experiences to breathe lives of their own must be considered. And finding a way through these mazes we create for ourselves is at the heart of INCEPTION. Taking pages from some of the best in science fiction writing of the last thirty years, mixed in with some of that classic Nolan grit, and warping them into a wholly new hybrid form of cinematic achievement is something truly exciting indeed. There is simply no real way to merely review a film like this without looking at the other "I" word...Intent.

The stars were aligned at last for Nolan to finally tackle what is essentially a dream project. The film by which a director risks life and limb to earn an ability to construct. It has been known that he had in fact been conceiving this piece for well over ten years (even during his MEMENTO days), and after the monolithic success of his Batman reinvention, he has finally been allowed to share the tale of expert mind-diver, Dom Cobb (Leonardo DiCaprio), and his voyages into the framework of the human mind. Its also no secret that the director's films have often been derided as being either too meticulous, and emotionally distant to make any truly deep impression. And it can be said that this isn't far from the truth, as often we are made participants in his sometimes overtly clever mindgames , nothing could prepare the average moviegoer for the Herculean workout they are about to receive with this one. This is the kind of film that anime such as Ghost in The Shell has been hinting at from the horizon for over a decade now. And boy, is it a welcome entry into this rarely filmed mode of hard science fiction. And in the best examples of a volatile project of this nature, it is a resounding success.

Cobb (DiCaprio) is an exiled american working as a master of psychological corporate espionage, which is to simplify, a "dream thief", specializing in diving into the minds of a mark to retrieve data for paying interests worldwide. A haunted anti-hero figure, Cobb requires the assistance of several other experts in the hopes of earning his way back into the US due to laws forbidding him to do so. Hired by the mysterious & dedicated Saito (A wonderful Ken Watanabe), Cobb and his partner in crime, Arthur(Joseph Goron-Levitt) enlist a small team of experts, including fellow diver Eames (Tom Hardy), chemist Yusuf (Dileep Rao), and architectural prodigy Ariadne (Ellen Page), who can help enter the mind of powerful heir-to-be, Fischer (Cillian Murphy) in the hopes of doing the near-impossible...the implantation of an idea as opposed to extraction. Despite the precision, and ability this team can muster, there is no guarantee of success in the realm of the ever-unstable human psyche. Especially when the leader is as tormented by the past as he is. And it is this fly in the ointment that fuels a great deal of the film as Page's eager student longs to better understand the world of the dream, despite the terrible danger Cobb's past engenders for not only her, but the entire operation.

From the opening scenes, into the leaps in non-linear time, and ultimately the dream itself, the film is an intoxicating mix that may alienate some upon first viewing, but render many to return as there is just so much value in nearly every moment of it. From the scenes revealing the unstable, shifting world of the dream, the nature of dream invasion, and the interweaving of exterior logic within the confines of full REM sleep. (I often sleep with music playing subtly in my room, so this makes absolute sense) The mission unfolds, and nearly spirals out of control to a point to where the team is forced to go much deeper than initially planned which creates a dizzying effect not unlike the way real dreams take conventional logic, and sends it packing. The interlocking of dreams within dreams is an incomparable feat of writing and editing that must be experienced to be fully comprehended. And this is where Wally Pfister's visual wizardry is paramount in expressing the tale in a nature most comparable to the images of one MC Escher. A visualist perfectly cast into a story so entrenched within such a labyrinthian structure. Hans Zimmer's score evokes both his greatest strengths alongside the very best of John Barry in a truly rapturous accompaniment. And to see a film so realized in its vision that the sights and sounds are so aligned with the intelligence to match, it is perhaps no big concern that the emotional effect perhaps is best saved for a second, or third viewing. The mind is so busy working overtime, this is perfectly understandable. This is a definitive example of the kind of rare work that rewards multiple viewings with added volumes of thought.
                                                                                                                                         

                                      
 And this is where the cast keeps the film so well grounded. DiCaprio's performance is a perfect follow-up to his impressive leading turn in Shutter Island earlier this year. In many ways, Cobb is an extension of the same character. But this time, the pain is driving his every move and has worn heavy on his appearance. It's a startling transformation for him, and offers a lot more than one may expect. Also engaging & funny is Gordon-Levitt's Arthur, the kind of slick upstart that pays counterpoint to Cobb's troubled, determined demeanor. He's a natural sidekick who more than holds his own in some of the work's most thrilling action pieces. Its also great to see Watanabe in such a larger role than usual in a large scale feature. Hopelessly dedicated to his cause, and oddly charming, his Saito is a fun, toned-down twist on the Bond-villain that adds a cool touch to the whole caper. And I can't help but love Tom Hardy in the role of Eames, a man so clearly aligned with his inner Ian Fleming. Support by Murphy, Tom Berenger, Rao, and even Nolan regular, Michael Caine are equally welcome to the proceedings.

Now what I haven't mentioned thus far was the inclusion of the film's feminine element consisting of a figure of Cobb's past played by Marion Cotilliard, and his urgent present in the form of Ellen Page. In the role of Ariadne, Page is tasked with perhaps the least amount of characterization in the film, and yet is all-important to the overarching narrative. As the young, eager student, she is tasked with entering the mind of Cobb, but discovers his secret that threatens the operation, and yet she cannot help but be entranced by the need to know. To push further than anyone prior had done. Knowing that her task is to create a projected maze within this scape of existence, she cannot help but wonder what lies beneath, and is thus more in tune with what Cobb truly wants as opposed to what he hopes to avoid. And in this, it is clear that she is less a requisite character on a heist as the majority of the cast, but more of a conscience that Cobb has been neglecting to keep his memories locked within. She is the key to his salvation, even as memories of the being known as Mal (Cotilliard) threaten to keep him imprisoned forever. It is in this stroke of story that INCEPTION leaps beyond the surface of protean mechanism, place, and spirit to deliver a most complex, yet human of parables.


And speaking from looking at the film from an interior view, it is also very telling that multiple parallels indicate that this is in fact at least a partially autobiographical look into a director whom at least right now, has the moviegoing public in his hands. With the revelation that one of the lead character's children is played by his real-life son, it isn't far off to see DiCaprio's Cobb as a broken analog for the director himself. And filmed with a love for pop-cinema of England past(the Bond connections are blatant), the piece can also play as a mediation on the life of one who has sacrificed so much in order to weave tales for us. And while some may see this as something less than subtle, it is also a declaration of the necessity for ideas in all eras. A primal call to arms in an art world in danger of collapsing to mere co-opt, familiarity, and safety. With a wildly ambitious script, a supporting public, and a note-perfect cast, we are sharing his dream within a thousand dark rooms. And perhaps with a hope that souls young and old can remember what it is to remain truly inspired.


Never mind that cinema may never be the same after INCEPTION has its way with your mind upon exposure. Never mind that it is a heist caper in rank with the best of authors such as William Gibson, and has an interior logic all of its own, and not in the best interest of mass audiences(especially within the realm of that all-comfort-food world of the Summer Film). What we have to bear witness is a thriller that stands defiant in the face of an ever-deadening cinematic landscape, and declares ideas to be our greatest saviors if not greatest terrors.

Combo Attack!! Podcast is Live!

The conversation expands...The rest is up to you, the listener!

At long last, a once lofty subject of discussion between old friends finally takes on life in the form of an all-new, and hopefully revealing podcast experiment! Combo Attack!! is the brainchild of Alain Lecaro (of Alain's Comic Stop), Joel Tune, and myself which'll explore pop culture from 3 diverging, yet hopefully entertaining viewpoints.

Where did this all come from? Well the fact that Al grew up with mostly American supehero comics, Joel with Video and Tabletop gaming, and myself with film & anime, it only made sense that it'd be a great time to hop on and share these often engaging & fun chats of ours with fans all over. (and all in the name of proving that the three fandoms could co-exist sans-the fear of fire & vitriol that the internet can sometimes engender)

Check out the site (including the debut episode, featuring an epic discussion of Nolan's The Dark Knight!)

    

Just in time for INCEPTION this weekend!