March 31st, 2013
MEOW!
Here is my month-in review for MEOW'S MARCH MOVIE MUSICAL MADNESS!
The Ten Best Films I've Watched During MMMMM's:
10.) The Little Mermaid
9.) Sweeney Todd: The Demon Barber of Fleet Street
8.) Beauty and the Beast
7.) The Prince of Egypt
6.) Chicago
5.) Evita
4.) The Hunchback of Notre Dame
3.) South Park: Bigger, Longer & Uncut
2.) Hairspray
1.) Once
The Five Weakest Films I've Watched During MMMMM's:
5.) Camp
4.) High School Musical
3.) High School Musical 2
2.) The Phantom of The Opera
1.) Mamma Mia
And that concludes MEOW'S MARCH MOVIE MUSICAL MADNESS. It's been one awesome ride reviewing all of these films, and I can't wait to review the next batch of films for MEOW'S (Hopefully) AWESOME APRIL ANIMAL PICTURES, starting with 101 Dalmatians (1996)
Until then,
MEOW!
Er, I mean, WOOF!
Sunday, March 31, 2013
Saturday, March 30, 2013
The Conclusion of MEOW'S MARCH MOVIE MUSICAL MADNESS: WEST SIDE STORY!
March 31st, 2013
MEOW!
MEOW!
-sniff- The last one...
I conclude MEOW'S MARCH MOVIE MUSICAL MADNESS with a short/sweet review of West Side Story, and I must admit that it's a very good way to go out. It may have a few slow moments in the first third, and there are times when the film screams "LOOK, MA! I'M FROM THE '60s!" But for the most part, West Side Story is a success thanks to an energetic direction by Jerome Robbins and Robert Wise, an excellent cast ensemble led by the stunning Natalie Wood as Maria, and a wonderful score with music by Leonard Bernstein and lyrics by Stephen Sondheim. It's the thematic elements that win the audience over, however. Any movie musical with a strong voice on equality earns enormous points in my book, and this film has that in spades. West Side Story is a terrific movie musical, and a fitting end to MEOW'S MARCH MOVIE MUSICAL MADNESS. Out of ten jets + sharks, I give West Side Story...
Until next time...
My Month-In-Review of MEOW'S MARCH MOVIE MUSICAL MADNESS!
and MEOW, of course!
Friday, March 29, 2013
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: I swing my razor REALLY high for SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
*This review is dedicated to Richard Griffiths*
March 30th, 2013
MEOW!
The first R-rated film I've ever seen in theaters still remains an excellent movie musical, and one of the best films of Tim Burton's reproitore. His vision has the feel of a gothic horror film that's both cynical and dreary, which perfectly matches the characteristics of the title character himself, portrayed with vengeful gusto by Johnny Depp; he gives one of the best performances of his career. Helena Bonham Carter gives a comical yet subtle performance as Mrs. Lovett, Professor Snape (Alan Rickman) will surprise all with his unique singing voice, just as he surprised us when we found out that {SPOILERSPOILERSPOILERSPOILERS} in the last Harry Potter picture, and Sacha Baron Cohen is a delight as Signor (Station Inspector) Pirelli. The music by Stephen Sondheim is magnificent as well, with some genuine stand-outs. "My Friends" is a treasure trove of silver razors, "Johanna (Trio)" is just brilliantly performed and shot, and "By The Sea" may be sung beautifully, but you can't imagine what comic surprises are in store for you. It does tend to drag in places that can halt the film for about a minute, but other than that nitpick, Sweeney Todd: The Demon Barber of Fleet Street is a twisted work of art that is sure to swing your razors high, and hold it to the sky. Out of five shiny razors, I give Sweeney Todd: The Demon Barber of Fleet Street...
Until next time,
the last one...
WEST SIDE STORY
-sniff-
and MEOW, of course!
March 30th, 2013
MEOW!
The first R-rated film I've ever seen in theaters still remains an excellent movie musical, and one of the best films of Tim Burton's reproitore. His vision has the feel of a gothic horror film that's both cynical and dreary, which perfectly matches the characteristics of the title character himself, portrayed with vengeful gusto by Johnny Depp; he gives one of the best performances of his career. Helena Bonham Carter gives a comical yet subtle performance as Mrs. Lovett, Professor Snape (Alan Rickman) will surprise all with his unique singing voice, just as he surprised us when we found out that {SPOILERSPOILERSPOILERSPOILERS} in the last Harry Potter picture, and Sacha Baron Cohen is a delight as Signor (Station Inspector) Pirelli. The music by Stephen Sondheim is magnificent as well, with some genuine stand-outs. "My Friends" is a treasure trove of silver razors, "Johanna (Trio)" is just brilliantly performed and shot, and "By The Sea" may be sung beautifully, but you can't imagine what comic surprises are in store for you. It does tend to drag in places that can halt the film for about a minute, but other than that nitpick, Sweeney Todd: The Demon Barber of Fleet Street is a twisted work of art that is sure to swing your razors high, and hold it to the sky. Out of five shiny razors, I give Sweeney Todd: The Demon Barber of Fleet Street...
Until next time,
the last one...
WEST SIDE STORY
-sniff-
and MEOW, of course!
MEOW! Presents: My Preview of APRIL'S (Hopefully) AWESOME ANIMAL PICTURES!
March 29th, 2013
MEOW!
Well...how appropriate. With Meow's March Movie Musical Madness coming to an end, and with how much fun I had with it, I was thinking of doing something for April. Eventually, I came up with the idea of reviewing Animal pictures. I will call it: "April's (Hopefully) Awesome Animal Pictures!" My reviews won't be as in-depth this time as I will be completing my first year at Rhode Island College, but I hope you will enjoy them just the same. Here are the films that I will be reviewing for this month:
101 Dalmatians (1996)--April 2nd, 2013
An American Tail--April 3rd, 2013
Babe--April 4th, 2013
Brother Bear + Brother Bear 2--April 5th, 2013
Charlotte's Web (2006)--April 6th, 2013
Dinosaur--April 7th, 2013
Dr. Dolittle--April 8th, 2013
Dumbo--April 9th, 2013
Finding Nemo--April 10th, 2013
The Fox and the Hound--April 11th, 2013
Garfield: The Movie--April 12th, 2013
Happy Feet--April 13th, 2013
Homeward Bound: The Incredible Journey--April 14th, 2013
How to Train Your Dragon--April 15th, 2013
Ice Age--April 16th, 2013
Jaws + Jurassic Park--April 17th, 2013
King Kong (2005)--April 18th, 2013
Kung Fu Panda + Kung Fu Panda 2--April 19th, 2013
Lady and the Tramp--April 20th, 2013
The Land Before Time--April 21st, 2013
The Lion King--April 22nd, 2013
The Madagascar Trilogy--April 23rd, 2013
Marley & Me--April 24th, 2013
My Dog Skip--April 25th, 2013
Rango--April 26th, 2013
Ratatouille--April 27th, 2013
Spirit: Stallion of the Cimarron--April 28th, 2013
Stuart Little + Stuart Little 2--April 29th, 2013
War Horse--April 30th, 2013
Well, Grumpy Cat, what do you think?
Er...Okay...
Until next time,
which is my SWEENEY TODD review...
MEOW!
MEOW!
Well...how appropriate. With Meow's March Movie Musical Madness coming to an end, and with how much fun I had with it, I was thinking of doing something for April. Eventually, I came up with the idea of reviewing Animal pictures. I will call it: "April's (Hopefully) Awesome Animal Pictures!" My reviews won't be as in-depth this time as I will be completing my first year at Rhode Island College, but I hope you will enjoy them just the same. Here are the films that I will be reviewing for this month:
101 Dalmatians (1996)--April 2nd, 2013
An American Tail--April 3rd, 2013
Babe--April 4th, 2013
Brother Bear + Brother Bear 2--April 5th, 2013
Charlotte's Web (2006)--April 6th, 2013
Dinosaur--April 7th, 2013
Dr. Dolittle--April 8th, 2013
Dumbo--April 9th, 2013
Finding Nemo--April 10th, 2013
The Fox and the Hound--April 11th, 2013
Garfield: The Movie--April 12th, 2013
Happy Feet--April 13th, 2013
Homeward Bound: The Incredible Journey--April 14th, 2013
How to Train Your Dragon--April 15th, 2013
Ice Age--April 16th, 2013
Jaws + Jurassic Park--April 17th, 2013
King Kong (2005)--April 18th, 2013
Kung Fu Panda + Kung Fu Panda 2--April 19th, 2013
Lady and the Tramp--April 20th, 2013
The Land Before Time--April 21st, 2013
The Lion King--April 22nd, 2013
The Madagascar Trilogy--April 23rd, 2013
Marley & Me--April 24th, 2013
My Dog Skip--April 25th, 2013
Rango--April 26th, 2013
Ratatouille--April 27th, 2013
Spirit: Stallion of the Cimarron--April 28th, 2013
Stuart Little + Stuart Little 2--April 29th, 2013
War Horse--April 30th, 2013
Well, Grumpy Cat, what do you think?
Er...Okay...
Until next time,
which is my SWEENEY TODD review...
MEOW!
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: Wait a minute, y'all...could SOUTH PARK: BIGGER, LONGER & UNCUT be the GREATEST animated movie musical of ALL-TIME?
March 29th, 2013
MEOW!
Happy Good Friday everybody! What better film to review on this day than...South Park: Bigger, Longer & Uncut?
Happy Good Friday everybody! What better film to review on this day than...South Park: Bigger, Longer & Uncut?
Now...I understand that this film isn't the kind you would review before a holiday as holy as Easter, so the following words that you are about to read may cause quite a bit of a shock. This is coming from someone who has enjoyed religious musicals such as Godspell and The Prince of Egypt. This is also coming from someone who has worshiped the animated musicals created by Disney ever since the beginning of my existence. And this is coming from someone who has never seen a full-length episode of South Park. Ever. So take my opinion with a grain of Mexican rice, will you? You can? OK, here we go. South Park: Bigger, Longer & Uncut not only deserves to be ranked alongside The Hunchback of Notre Dame, The Prince of Egypt, AND Beauty and the Beast as the best animated movie musicals ever made; it stands among the most impressive films that I've ever seen in the eighteen years of my existence.
You won't believe your eyes with the amount of detail placed on the animation, which is practically an arts and crafts project coming to life. The detail during the unbelievably outrageous climax--I emphasize the words *UNBELIEVABLY OUTRAGEOUS CLIMAX*--is some of the best I've ever seen in animated feature. The songs by Trey Parker and Marc Shaiman are just ingenious. "Blame Canada" is a great satire surrounding America's perception on how "they're not even a real country anyway." "La Resistance" is an EPIC homage to the song "One Day More" in Les Miserables (Though you die, La Resistance lives on!). "Mountain Town" is another BRILLIANT homage to the opening numbers of classic movie musicals such as Beauty and the Beast and Oklahoma. And "Up There" is a song sung by Satan.
I kid you not. Satan sings about wishing to be "up there, where there's so much room/where babies burp and flowers bloom." He's also in a relationship with none other than Saddam Hussein, and they both live in Hell together. By all accounts, I should not find any enjoyment in this; I should find this over-indulgent in the film's attempts to make everything controversial. But good god (pun?), it works. It absolutely works one-hundred and three percent! When Satan does sing "Up There," it's not only hilarious on a surface level, but you could argue that when taken out of the film's context, it's an intensely amusing song about an average Jo(ann)e wanting to go to heaven after (s)he dies. It's an amazingly fearless risk that pays off enormously.
But that's not the only risk that pays off enormously, however. The social commentary in South Park: Bigger, Longer & Uncut couldn't be more appropriate today. As much as I enjoy the sound of *bleeping* on shows like The Colbert Report, I believe (see what I did there?) that everyone should have a chance to express themselves in any entertaining form--such as music, video, writing reviews, etc.--as long as there is, of course, a purpose behind the expression. If this film had the most excessive amount of swearing I've ever heard without an implicit meaning, then it would be written off as an unnecessary R-rated raunchfest. There is one, however, and it's more than just a typical rebellion for the freedom of speech. The film takes a dive deep into all of the characters' desires and motivations; what we discover from them is something rare coming from a film of this ilk: humanity. There's no escape from it: we've all been naive, we've all had prejudices, and whether you know it or not, we have sworn at least once in our lives, even if it we just performed those swears under a proscenium arch. If we all had the same personality as somebody as legen--wait for it--DARY as Neil Patrick Harris, then we wouldn't be as legendary as we want to be. Humanity allows us to have an integrity based on what we firmly believe in, and I believe that there are people that deserve a chance to be who they are today. If humanity can be its own word, why can't anybody else?
South Park: Bigger, Longer & Uncut is a film that takes an incredible amount of risks, and every single one of them pays off enormously. It's one of the most brilliantly entertaining pieces of cinema in the eighteen years of my existence, while also being one of the most in-depth social commentaries you will ever see in a motion picture. It's not for children of all ages (those under ten should wait), and some might take offense to certain moments, but oh man, for anyone who can see any implicit meanings under the outrageous surface, this is a film I cannot recommend enough. I cannot think of one flaw to say about this film. It's unlike anything I've ever seen.
Out of five Kennies, I give South Park: Bigger, Longer & Uncut...
Until next time,
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
and MEOW, of course!
You won't believe your eyes with the amount of detail placed on the animation, which is practically an arts and crafts project coming to life. The detail during the unbelievably outrageous climax--I emphasize the words *UNBELIEVABLY OUTRAGEOUS CLIMAX*--is some of the best I've ever seen in animated feature. The songs by Trey Parker and Marc Shaiman are just ingenious. "Blame Canada" is a great satire surrounding America's perception on how "they're not even a real country anyway." "La Resistance" is an EPIC homage to the song "One Day More" in Les Miserables (Though you die, La Resistance lives on!). "Mountain Town" is another BRILLIANT homage to the opening numbers of classic movie musicals such as Beauty and the Beast and Oklahoma. And "Up There" is a song sung by Satan.
I kid you not. Satan sings about wishing to be "up there, where there's so much room/where babies burp and flowers bloom." He's also in a relationship with none other than Saddam Hussein, and they both live in Hell together. By all accounts, I should not find any enjoyment in this; I should find this over-indulgent in the film's attempts to make everything controversial. But good god (pun?), it works. It absolutely works one-hundred and three percent! When Satan does sing "Up There," it's not only hilarious on a surface level, but you could argue that when taken out of the film's context, it's an intensely amusing song about an average Jo(ann)e wanting to go to heaven after (s)he dies. It's an amazingly fearless risk that pays off enormously.
But that's not the only risk that pays off enormously, however. The social commentary in South Park: Bigger, Longer & Uncut couldn't be more appropriate today. As much as I enjoy the sound of *bleeping* on shows like The Colbert Report, I believe (see what I did there?) that everyone should have a chance to express themselves in any entertaining form--such as music, video, writing reviews, etc.--as long as there is, of course, a purpose behind the expression. If this film had the most excessive amount of swearing I've ever heard without an implicit meaning, then it would be written off as an unnecessary R-rated raunchfest. There is one, however, and it's more than just a typical rebellion for the freedom of speech. The film takes a dive deep into all of the characters' desires and motivations; what we discover from them is something rare coming from a film of this ilk: humanity. There's no escape from it: we've all been naive, we've all had prejudices, and whether you know it or not, we have sworn at least once in our lives, even if it we just performed those swears under a proscenium arch. If we all had the same personality as somebody as legen--wait for it--DARY as Neil Patrick Harris, then we wouldn't be as legendary as we want to be. Humanity allows us to have an integrity based on what we firmly believe in, and I believe that there are people that deserve a chance to be who they are today. If humanity can be its own word, why can't anybody else?
South Park: Bigger, Longer & Uncut is a film that takes an incredible amount of risks, and every single one of them pays off enormously. It's one of the most brilliantly entertaining pieces of cinema in the eighteen years of my existence, while also being one of the most in-depth social commentaries you will ever see in a motion picture. It's not for children of all ages (those under ten should wait), and some might take offense to certain moments, but oh man, for anyone who can see any implicit meanings under the outrageous surface, this is a film I cannot recommend enough. I cannot think of one flaw to say about this film. It's unlike anything I've ever seen.
Out of five Kennies, I give South Park: Bigger, Longer & Uncut...
Until next time,
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
and MEOW, of course!
Wednesday, March 27, 2013
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: The hills are alive with THE SOUND OF MOOOOOOOOOOOOOOOOSIC....I had to.
March 27th, 2013
MEOW!
Let's start at the beginning...a VERY good place to start...
When Maria (Mary Poppins/Julie Andrews--take your pick) sings about how "the hills are alive with the sound of music," it's unquestionably one of the most iconic moments in cinematic history. But the opening shots before that moment are amazing masterpieces in of itself. What I would give to view those shots on an IMAX screen, and sink in every detail of Ted D. McCord's extraordinary cinematography. From the very moment this film begins, a spell is cast on the viewer.
And it doesn't stop there. Lord, what amazing parts of Austria that I'm fortunate enough to observe (the shots inside the cathedral will blow your film-loving mind), what wonderful music by Richard Rodgers and Oscar Hammerstein II that I am fortunate enough to hear and sing along to ("when you know the notes to sing, you can sing most anything"), and what terrific performances from all of the cast that I am fortunate enough to see with my very eyes (Peggy Wood and her rendition of "Climb Ev'ry Mountain" is nothing short of miraculous). The Sound of Music is a film that I am fortunate to have heard, seen and observe. It was also a film that I was fortunate to have heard, seen and observe in the comfort of a movie theater in honor of its forty-fifth anniversary. One of the best movie-going experiences I've ever had.
The one downside? The. Bloody. Length. I can't sit through this film without having to nod off in a couple of moments. And believe me, there are a couple of moments that could have easily been trimmed to make it a satisfying two-and-a-half hour movie musical. I also can't remember "Something Good" like I can instantly remember something like "Edelweiss," "So Long, Farewell," "My Favorite Things," "The Sound of Music," and...and...and...well, every other musical number besides "Something Good." On the upside, there are goats in this film. I mean, they're made out of puppetry, but it'll do...
I digress. The Sound of Music is an ambitious enough movie musical to merit an incredibly strong recommendation. It's gorgeously shot, has terrific performances by everyone involved, and the sound of its own music is alive and well. It's also the only movie musical aimed at families where nazism is discussed. Isn't that a 'great escape' for all ages?
He...hehe....eh, tough crowd indeed.
Out of five yelling goats, I give The Sound of Music...
Until next time,
SOUTH PARK: BIGGER, LONGER & UNCUT...
I am so excited to review that film...
and MEOW, of course!
MEOW!
Let's start at the beginning...a VERY good place to start...
When Maria (Mary Poppins/Julie Andrews--take your pick) sings about how "the hills are alive with the sound of music," it's unquestionably one of the most iconic moments in cinematic history. But the opening shots before that moment are amazing masterpieces in of itself. What I would give to view those shots on an IMAX screen, and sink in every detail of Ted D. McCord's extraordinary cinematography. From the very moment this film begins, a spell is cast on the viewer.
And it doesn't stop there. Lord, what amazing parts of Austria that I'm fortunate enough to observe (the shots inside the cathedral will blow your film-loving mind), what wonderful music by Richard Rodgers and Oscar Hammerstein II that I am fortunate enough to hear and sing along to ("when you know the notes to sing, you can sing most anything"), and what terrific performances from all of the cast that I am fortunate enough to see with my very eyes (Peggy Wood and her rendition of "Climb Ev'ry Mountain" is nothing short of miraculous). The Sound of Music is a film that I am fortunate to have heard, seen and observe. It was also a film that I was fortunate to have heard, seen and observe in the comfort of a movie theater in honor of its forty-fifth anniversary. One of the best movie-going experiences I've ever had.
The one downside? The. Bloody. Length. I can't sit through this film without having to nod off in a couple of moments. And believe me, there are a couple of moments that could have easily been trimmed to make it a satisfying two-and-a-half hour movie musical. I also can't remember "Something Good" like I can instantly remember something like "Edelweiss," "So Long, Farewell," "My Favorite Things," "The Sound of Music," and...and...and...well, every other musical number besides "Something Good." On the upside, there are goats in this film. I mean, they're made out of puppetry, but it'll do...
I digress. The Sound of Music is an ambitious enough movie musical to merit an incredibly strong recommendation. It's gorgeously shot, has terrific performances by everyone involved, and the sound of its own music is alive and well. It's also the only movie musical aimed at families where nazism is discussed. Isn't that a 'great escape' for all ages?
He...hehe....eh, tough crowd indeed.
Out of five yelling goats, I give The Sound of Music...
Until next time,
SOUTH PARK: BIGGER, LONGER & UNCUT...
I am so excited to review that film...
and MEOW, of course!
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: I'm SINGIN'...Just SINGIN' IN THE RAIN!
March 27th, 2013
MEOW!
Singin' In The Rain truly deserves a spot in the "if-you-don't-crack-a-smile-once-then-you're-not-human" list. While not the greatest movie musical of all-time, this is still a wonderful entertainment with some moments that are absolutely spellbinding.
One just happens to be the title number itself. When Don Lockwood (the unbelievably incredible Gene Kelly) sings and dances under a multitude of drops (Thank You, Cloud Atlas), it's just about as close as you can get to the purest of movie magic nowadays. I saw this film at a 50th anniversary screening last summer, and when that scene happened in the theater, it made me feel that all was right in the world. When I also saw "Make 'Em Laugh" in the theater, it made me feel the exact same way. Laughter is one of the finest medicines that you can possibly take; turns out all we needed was a freakin' genius like Cosmo Brown (the extraordinary Donald O' Connor) to prove that once and for all. It's indescribable as to how much joy I had during that scene. It's as good as not only "Singin' In The Rain," but as every other number that I've seen in a movie musical. Then you have classic numbers such as "Fit As A Fiddle," "Good Moooooorning," and "Moses Supposes" that are irresistibly infectious, and part of that infection comes from the absolutely brilliant choreography as well. In fact, the choreography is so good that it becomes exhausting by the time "Broadway Melody" arrives, which is the film's only major flaw. As much as I admire the wonderful technicolor-scheme, and Gene Kelly's moves, of course, that moment in the film ruins most of the momentum it had before. Ironically, it might have been revolutionary back when it was released, but for today's audience, it becomes a chore to sit through. Thankfully, the film redeems itself with an incredibly funny (if slightly abrupt) climax that shows how lip-synching can help in difficult times, such as, you guessed it, making a movie musical!
Singin' In The Rain is an overall delight, with winning characters, infectious energy, and a couple of spellbinding moments that'll give you those three M's: Movie. Musical. Magic. Out of five colorful umbrellas, I give Singin' In The Rain...
Until next time,
Well...the hills are alive with THE SOUND OF MUSIC!
and MEOW, of course!
MEOW!
Singin' In The Rain truly deserves a spot in the "if-you-don't-crack-a-smile-once-then-you're-not-human" list. While not the greatest movie musical of all-time, this is still a wonderful entertainment with some moments that are absolutely spellbinding.
One just happens to be the title number itself. When Don Lockwood (the unbelievably incredible Gene Kelly) sings and dances under a multitude of drops (Thank You, Cloud Atlas), it's just about as close as you can get to the purest of movie magic nowadays. I saw this film at a 50th anniversary screening last summer, and when that scene happened in the theater, it made me feel that all was right in the world. When I also saw "Make 'Em Laugh" in the theater, it made me feel the exact same way. Laughter is one of the finest medicines that you can possibly take; turns out all we needed was a freakin' genius like Cosmo Brown (the extraordinary Donald O' Connor) to prove that once and for all. It's indescribable as to how much joy I had during that scene. It's as good as not only "Singin' In The Rain," but as every other number that I've seen in a movie musical. Then you have classic numbers such as "Fit As A Fiddle," "Good Moooooorning," and "Moses Supposes" that are irresistibly infectious, and part of that infection comes from the absolutely brilliant choreography as well. In fact, the choreography is so good that it becomes exhausting by the time "Broadway Melody" arrives, which is the film's only major flaw. As much as I admire the wonderful technicolor-scheme, and Gene Kelly's moves, of course, that moment in the film ruins most of the momentum it had before. Ironically, it might have been revolutionary back when it was released, but for today's audience, it becomes a chore to sit through. Thankfully, the film redeems itself with an incredibly funny (if slightly abrupt) climax that shows how lip-synching can help in difficult times, such as, you guessed it, making a movie musical!
Singin' In The Rain is an overall delight, with winning characters, infectious energy, and a couple of spellbinding moments that'll give you those three M's: Movie. Musical. Magic. Out of five colorful umbrellas, I give Singin' In The Rain...
Until next time,
Well...the hills are alive with THE SOUND OF MUSIC!
and MEOW, of course!
Tuesday, March 26, 2013
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: MA, HOW ARE WE GONNA PAY LAST YEAR'S REEEEEEEEEEENT? MA? MA?
March 26th, 2013
MEOW!
Measure your life in love...
--Jonathan Larson
Like with most of the musicals that I discover, the first time I discovered RENT was by watching the movie musical. Oh, how I remember it like it was...six years ago. I went to see it at the Showcase Cinemas in East Hartford with my dad, mom, and sister Emmy Rossum. And like most of the movie musicals that I discover for the first time, I freakin' loved it. I got addicted to the music, and while I didn't entirely comprehend on what was going on, I still enjoyed it just the same. As time passed, I was able to fully appreciate Jonathan Larson's profoundly wonderful book and score, especially when viewing a recording of RENT's final performance on Broadway in a movie theater for my birthday. Talk about one of the great all-time birthday gifts.
So, what do I think of RENT today when I compare it to yesteryear?
Well, the keyword in that question is 'today.' Despite this musical taking place in-between 1989 and 1990, and despite taking inspiration from La Boheme, an opera written by Giacomo Puccini all the way in the 1800s, RENT has a certain timelessness to where you can still relate to these characters and their personal situations today. Underneath all of that rock-n-roll is that good ol' heart-n-soul that makes everything feel alive and real. Musicals such as RENT is like that one shooting star that falls gently into your hands, and once you make a wish, you never know what's going to happen, but somehow...you feel better than you have ever felt before. I thank Jonathan Larson for teaching me that there's "No Day But Today," and that we should all measure our lives in love no matter where we go.
It's also fortunate to write that RENT as a movie musical, although not perfect, remains faithful to Jonathan Larson's work of art. The music remains profound and honest to life itself, while most of the original Broadway cast members (with the excellent exceptions of Rosario Dawson as Mimi Marquez and Tracie Thoms as Joanne Jefferson) have returned to reprise their respective roles. Also worth noting Stephen Chbosky--who was responsible for The many, many, MANY Perks of Being a Wallflower--and he mostly does a great job of adapting what is essentially a rock opera, and presenting it to a mass audience of moviegoers.
As someone who has watched a taped recording of the stage production, however, it's sometimes awkward watching the sung lines be spoken until it suddenly becomes a sung-through musical again. Chris Columbus' shots are sometimes too dimly lit as well, particularly during "Light My Candle." If this film was shown at drive-ins, there would be moments where you'd think the projection system was broken. As much as Idina Menzel is exceptional in this film (and in life, in general), her performance of "Over the Moon" goes on longer than it should, and loses some of the momentum that it had before. Most of all, dadgum it! I wish they'd kept in "Halloween" and the rest of "Goodbye Love." If they said it was 'too emotionally draining' for its test audiences, then I think the film has done its job. It would've made the emotional impact that much stronger!
With that said, however, the emotional impact remains thanks to the amazing songs written by Jonathan Larson. The simplicity of "Will I?" and its canon is undeniably beautiful, "Without You" will instantly make you think about the people in your life, the reprise to "I'll Cover You" is as heartbreaking as anything you will find in Les Miserables, and "No Day But Today" just sells the film by itself. RENT is not a downer, however; "Santa Fe" is, in some ways, reminiscent of Gene Kelly's "Singin' in the Rain" routine (Guess what film I'm reviewing next?), only it's set inside the grittiness of a subway and not under similar drops of water. And "La Vie Boheme" will make you want to go to Friendly's late at night, put some tables together, and almost get kicked out by the manager and his staff. It would be worth it.
Every performance in this film is incredible. I will forever associate Anthony Rapp as Mark Cohen, Adam Pascal as Roger Davis (Even as Huey Calhoun, he would still be Roger), Rosario Dawson as Mimi Marquez, Jesse L. Martin as Tom Collins, Idina Menzel as...well, I'll still associate her as Maureen Johnson, Tracie Thoms as Joanne Jefferson, Taye Diggs as Benjamin Coffin III, and of course, Wilson Jermaine Heredia as Angel Dumott Schunard. They will be forever known as the 2005 RENT-heads.
Oh, and did I mention Vanellope Von Schweetz (Sarah Silverman) is in this film? Yeah, it's pretty schweet.
Despite some of its critical troubles, RENT succeeds as a movie musical paying homage to Jonathan Larson's wonderful book and score. Pay your RENT and discover that there is no day but today. Out of five overdue payments, I give this movie musical...
Until next time,
SINGIN' IN THE RAIN
and MEOW, of course!
MEOW!
Measure your life in love...
--Jonathan Larson
Like with most of the musicals that I discover, the first time I discovered RENT was by watching the movie musical. Oh, how I remember it like it was...six years ago. I went to see it at the Showcase Cinemas in East Hartford with my dad, mom, and sister Emmy Rossum. And like most of the movie musicals that I discover for the first time, I freakin' loved it. I got addicted to the music, and while I didn't entirely comprehend on what was going on, I still enjoyed it just the same. As time passed, I was able to fully appreciate Jonathan Larson's profoundly wonderful book and score, especially when viewing a recording of RENT's final performance on Broadway in a movie theater for my birthday. Talk about one of the great all-time birthday gifts.
So, what do I think of RENT today when I compare it to yesteryear?
Well, the keyword in that question is 'today.' Despite this musical taking place in-between 1989 and 1990, and despite taking inspiration from La Boheme, an opera written by Giacomo Puccini all the way in the 1800s, RENT has a certain timelessness to where you can still relate to these characters and their personal situations today. Underneath all of that rock-n-roll is that good ol' heart-n-soul that makes everything feel alive and real. Musicals such as RENT is like that one shooting star that falls gently into your hands, and once you make a wish, you never know what's going to happen, but somehow...you feel better than you have ever felt before. I thank Jonathan Larson for teaching me that there's "No Day But Today," and that we should all measure our lives in love no matter where we go.
It's also fortunate to write that RENT as a movie musical, although not perfect, remains faithful to Jonathan Larson's work of art. The music remains profound and honest to life itself, while most of the original Broadway cast members (with the excellent exceptions of Rosario Dawson as Mimi Marquez and Tracie Thoms as Joanne Jefferson) have returned to reprise their respective roles. Also worth noting Stephen Chbosky--who was responsible for The many, many, MANY Perks of Being a Wallflower--and he mostly does a great job of adapting what is essentially a rock opera, and presenting it to a mass audience of moviegoers.
As someone who has watched a taped recording of the stage production, however, it's sometimes awkward watching the sung lines be spoken until it suddenly becomes a sung-through musical again. Chris Columbus' shots are sometimes too dimly lit as well, particularly during "Light My Candle." If this film was shown at drive-ins, there would be moments where you'd think the projection system was broken. As much as Idina Menzel is exceptional in this film (and in life, in general), her performance of "Over the Moon" goes on longer than it should, and loses some of the momentum that it had before. Most of all, dadgum it! I wish they'd kept in "Halloween" and the rest of "Goodbye Love." If they said it was 'too emotionally draining' for its test audiences, then I think the film has done its job. It would've made the emotional impact that much stronger!
With that said, however, the emotional impact remains thanks to the amazing songs written by Jonathan Larson. The simplicity of "Will I?" and its canon is undeniably beautiful, "Without You" will instantly make you think about the people in your life, the reprise to "I'll Cover You" is as heartbreaking as anything you will find in Les Miserables, and "No Day But Today" just sells the film by itself. RENT is not a downer, however; "Santa Fe" is, in some ways, reminiscent of Gene Kelly's "Singin' in the Rain" routine (Guess what film I'm reviewing next?), only it's set inside the grittiness of a subway and not under similar drops of water. And "La Vie Boheme" will make you want to go to Friendly's late at night, put some tables together, and almost get kicked out by the manager and his staff. It would be worth it.
Every performance in this film is incredible. I will forever associate Anthony Rapp as Mark Cohen, Adam Pascal as Roger Davis (Even as Huey Calhoun, he would still be Roger), Rosario Dawson as Mimi Marquez, Jesse L. Martin as Tom Collins, Idina Menzel as...well, I'll still associate her as Maureen Johnson, Tracie Thoms as Joanne Jefferson, Taye Diggs as Benjamin Coffin III, and of course, Wilson Jermaine Heredia as Angel Dumott Schunard. They will be forever known as the 2005 RENT-heads.
Oh, and did I mention Vanellope Von Schweetz (Sarah Silverman) is in this film? Yeah, it's pretty schweet.
Despite some of its critical troubles, RENT succeeds as a movie musical paying homage to Jonathan Larson's wonderful book and score. Pay your RENT and discover that there is no day but today. Out of five overdue payments, I give this movie musical...
Until next time,
SINGIN' IN THE RAIN
and MEOW, of course!
Monday, March 25, 2013
MEOW'S MARCH MOVIE MUSICAL MADNESS Presents: I Wanna Be a PRODUCER with these PRODUCERS!
March 25th, 2013
How weeeeee gonna pa-a-ay
MEOW!
I remember liking the 2005 movie musical adaptation of The Producers quite a deal, although probably not as much as my sister (Emmy Rossum) who was obsessed with it to a T. In regards to the musical production itself, I love it--hilarious characters, wonderful songs, and a pigeon named Adolf. What more could you want at that age? Oh right, it's adapted from a screenplay by Mel Brooks. What else could you want at that age? Oh SPACEBALLS, that's right: Adolf Elizabeth Hitler!
So, what do I think of it today?
Despite a rather uneven direction by Susan Stroman, with some jokes falling flip-FLOP-fat on its face, The Producers is nonetheless a very entertaining musical comedy with an absolutely BRILLIANT performance by Will Ferrell. He is responsible for portraying Franz Lebkind, the writer of what is sure to be a one-hundred percent flop: Springtime for Hitler. His comic timing, his energy, his facial expressions, his singing voice; Der Guten Tag Hop-Clop is a joyous moment of outrageous comedy. How he got snubbed for a Best Supporting Actor nomination that year is beyond me.
Oh, and yes, the pigeons deserved some nominations as well. Even Adolf.
The rest of the cast ensemble provides wonderful work all around. Most of the members of this cast came from the original Broadway cast, and seeing them in this film is a real treat for Broadway fans. Nathan Lane and Matthew Broderick prove that they still got it as Max Bialystock and Leopold Bloom; Lane's "Betrayed" is brilliantly performed while Broderick's "I Wanna Be A Producer" will put a smile on your face and a giggle through your...stomach. Roger Bart and Gary Beach provide some of the funniest moments of the film as Carmen Ghia and Roger DeBris ("Darling, quick, back in the closet!"). Even though she hasn't been on the Great White Way, Uma Thurman makes a solid choice for Ulla, and her dance with Bloom during "That Face" is enjoyably humorous.
For the most part, the jokes in The Producers hit bullseye. As I've mentioned, anything involving Will Ferrell is a joy to watch, but it's even funnier when he's with most of the principal performers. The scene before opening night of "Springtime for Hitler" is just side-splitting; you will never say good luck before an opening night of a production ever again. "Springtime for Hitler" is also just...I'll just say this..."Don't be stupid, be a smarty. Come on and join the Nazi party." Or...perhaps not....And without giving too much away, the scene after "Springtime for Hitler" is THE funniest moment in the film, and quite possibly one of the funniest moments I've ever seen in a movie musical. I dare you not to laugh once during that scene, or at least crack a smile. Or a "he...hehe.."
A few jokes do miss the mark, such as one joke during "Keep It Gay." While that joke made me die with laughter on stage, it comes across as awkward when shot for the film. Also, some of the direction feels a bit too 'stagy' for a movie musical, particularly during the opening sequence with Bialystock and Bloom. It doesn't feel like I'm transported to another world from my own; I feel like I'm watching a live recording of a stage performance. There's a difference between that and watching a *movie* musical.
But those flaws are half-way redeemed because the rest of the film is so likable to enjoy, and the final third does show a bit of (silly) heart-warming emotion as well. Is it a perfect movie musical comedy? The answer is a simple 'no' to that question, but it's a solid movie musical comedy with excellent performances--especially from Will Ferrell--and witty, memorable tunes written by none other than Mel Brooks himself. Out of five pigeons named Adolf, I give The Producers...
So, what do I think of it today?
Despite a rather uneven direction by Susan Stroman, with some jokes falling flip-FLOP-fat on its face, The Producers is nonetheless a very entertaining musical comedy with an absolutely BRILLIANT performance by Will Ferrell. He is responsible for portraying Franz Lebkind, the writer of what is sure to be a one-hundred percent flop: Springtime for Hitler. His comic timing, his energy, his facial expressions, his singing voice; Der Guten Tag Hop-Clop is a joyous moment of outrageous comedy. How he got snubbed for a Best Supporting Actor nomination that year is beyond me.
Oh, and yes, the pigeons deserved some nominations as well. Even Adolf.
The rest of the cast ensemble provides wonderful work all around. Most of the members of this cast came from the original Broadway cast, and seeing them in this film is a real treat for Broadway fans. Nathan Lane and Matthew Broderick prove that they still got it as Max Bialystock and Leopold Bloom; Lane's "Betrayed" is brilliantly performed while Broderick's "I Wanna Be A Producer" will put a smile on your face and a giggle through your...stomach. Roger Bart and Gary Beach provide some of the funniest moments of the film as Carmen Ghia and Roger DeBris ("Darling, quick, back in the closet!"). Even though she hasn't been on the Great White Way, Uma Thurman makes a solid choice for Ulla, and her dance with Bloom during "That Face" is enjoyably humorous.
For the most part, the jokes in The Producers hit bullseye. As I've mentioned, anything involving Will Ferrell is a joy to watch, but it's even funnier when he's with most of the principal performers. The scene before opening night of "Springtime for Hitler" is just side-splitting; you will never say good luck before an opening night of a production ever again. "Springtime for Hitler" is also just...I'll just say this..."Don't be stupid, be a smarty. Come on and join the Nazi party." Or...perhaps not....And without giving too much away, the scene after "Springtime for Hitler" is THE funniest moment in the film, and quite possibly one of the funniest moments I've ever seen in a movie musical. I dare you not to laugh once during that scene, or at least crack a smile. Or a "he...hehe.."
A few jokes do miss the mark, such as one joke during "Keep It Gay." While that joke made me die with laughter on stage, it comes across as awkward when shot for the film. Also, some of the direction feels a bit too 'stagy' for a movie musical, particularly during the opening sequence with Bialystock and Bloom. It doesn't feel like I'm transported to another world from my own; I feel like I'm watching a live recording of a stage performance. There's a difference between that and watching a *movie* musical.
But those flaws are half-way redeemed because the rest of the film is so likable to enjoy, and the final third does show a bit of (silly) heart-warming emotion as well. Is it a perfect movie musical comedy? The answer is a simple 'no' to that question, but it's a solid movie musical comedy with excellent performances--especially from Will Ferrell--and witty, memorable tunes written by none other than Mel Brooks himself. Out of five pigeons named Adolf, I give The Producers...
Until next time,
How we gonna pay
How we gonna pa-a-ay
How weeeeee gonna pa-a-ay
LAST YEAR'S REEEEEEEEEEEEEEEEEEEEEEEEEEEEEENT
and MEOW, of course!
Saturday, March 23, 2013
MEOW's MARCH MOVIE MUSICAL MADNESS Presents: There can be miracles when you have a film like THE PRINCE OF EGYPT!
March 24th, 2013
MEOW!
So how can you see what your life is worth
Or where your value lies
You can never see through the eyes of man
You must look at your life
Look at your life through heaven's eyes
--Jethro
Not only did I absolutely love The Prince of Egypt growing up, but I might have loved it as much as some of my favorite Disney movie musicals. Part of that came from the music (I am listening to "Through Heaven's Eyes" as I'm writing this), and just how epic and profound each of the songs were written. It was also an exceptional alternative to watching The Ten Commandments every Easter on ABC (When I watched The Ten Commandments as a child for the first time, my eyes widened realizing that it focused on the story of Moses). So what do I think of it today?
The Prince of Egypt, for all of its nitpicks, remains a genuine testament to the human spirit, and one of the best (animated) movie musicals that I've ever seen. I would go as far as to say it's as good as The Hunchback of Notre Dame and Beauty and the Beast combined.
Part of that, once again, comes from the masterful score by Hans Zimmer, and the beautifully written songs by Stephen Schwartz. "When You Believe," as sung in the film and not in the end credits (although that version is also very well-sung; R.I.P. Whitney Huston), is so moving and powerful that it may have the ability to form tears in your eyes...which are now heaven's eyes by that point. "Through Heaven's Eyes" is also a masterfully written song, while being performed brilliantly by the great Brian Stokes Mitchell. "The Plagues" is EPIC, and you will be amazed by the fact that...yes...Voldemort (Ralph Fiennes) can actually sing! "Deliver Us" is...Okay, EVERY song in this film works; let's just leave it at that.
{One song that I find under-appreciated is "I Will Get There," performed by Boyz II Men and sung during the end credits after "When You Believe." It's a wonderful song that can inspire people to...well...get there, of course!}
Combined with the epic music is the epic nature of its animation, which is also an extraordinary achievement. When Moses parts that red sea to save his people from Rameses and his comrades...whew lawdy. Also notable is the animation of the burning bush, the animation of "Deliver Us," the animation of the plague that takes the souls of the first born, the animation, the animation, the ani, ma, tion is some of the best I've ever seen in an animated motion picture. Absolutely incredible artwork by the animation team at Dreamworks.
One of the greatest strengths of The Prince of Egypt lies within the character of Moses himself, and that comes through in one particular moment of animation, immediately after Rameses tells Moses that he and his people are free to leave. You would expect Moses to feel relieved that he has finally completed God's crucial mission, but in just one powerful moment, he collapses onto the ground feeling the internal pain of being dismissed by his stepbrother forever. That's not only great animation; that's great art. It shows just how much he cared for his stepbrother even when God's plagues not only wiped out half of Egypt, but also took away the life of Rameses' son, the one person that quite possibly made him happier to be alive. Speaking of God, it also shows how much God is like all of us after all. He is a good and merciful person, but he also has a temper sometimes, while also having the ability to express himself in unexpected (and tragic) ways. Overall, God is human, and to err is human. To life is human. L'chaim!
There are some pacing issues in developing the relationship between Moses and Rameses during the first act, but once Moses finds out where he truly comes from, The Prince of Egypt does nothing but soar through the rest of the picture, sometimes in unexpectedly powerful ways. Extraordinary animation, beautifully epic music, and a familiar story told with astonishing depth, this is one masterful work in the art of picture, sound and old-testament storytelling. Out of five fake camels with shades, I give The Prince of Egypt...
Until next time,
THE PRODUCERS
OH, I MUST TELL MY BIRDS!
Oh, and MEOW, of course!
MEOW!
So how can you see what your life is worth
Or where your value lies
You can never see through the eyes of man
You must look at your life
Look at your life through heaven's eyes
--Jethro
Not only did I absolutely love The Prince of Egypt growing up, but I might have loved it as much as some of my favorite Disney movie musicals. Part of that came from the music (I am listening to "Through Heaven's Eyes" as I'm writing this), and just how epic and profound each of the songs were written. It was also an exceptional alternative to watching The Ten Commandments every Easter on ABC (When I watched The Ten Commandments as a child for the first time, my eyes widened realizing that it focused on the story of Moses). So what do I think of it today?
The Prince of Egypt, for all of its nitpicks, remains a genuine testament to the human spirit, and one of the best (animated) movie musicals that I've ever seen. I would go as far as to say it's as good as The Hunchback of Notre Dame and Beauty and the Beast combined.
Part of that, once again, comes from the masterful score by Hans Zimmer, and the beautifully written songs by Stephen Schwartz. "When You Believe," as sung in the film and not in the end credits (although that version is also very well-sung; R.I.P. Whitney Huston), is so moving and powerful that it may have the ability to form tears in your eyes...which are now heaven's eyes by that point. "Through Heaven's Eyes" is also a masterfully written song, while being performed brilliantly by the great Brian Stokes Mitchell. "The Plagues" is EPIC, and you will be amazed by the fact that...yes...Voldemort (Ralph Fiennes) can actually sing! "Deliver Us" is...Okay, EVERY song in this film works; let's just leave it at that.
{One song that I find under-appreciated is "I Will Get There," performed by Boyz II Men and sung during the end credits after "When You Believe." It's a wonderful song that can inspire people to...well...get there, of course!}
Combined with the epic music is the epic nature of its animation, which is also an extraordinary achievement. When Moses parts that red sea to save his people from Rameses and his comrades...whew lawdy. Also notable is the animation of the burning bush, the animation of "Deliver Us," the animation of the plague that takes the souls of the first born, the animation, the animation, the ani, ma, tion is some of the best I've ever seen in an animated motion picture. Absolutely incredible artwork by the animation team at Dreamworks.
Awwwwww yeeeeeeeeeeah....
One of the greatest strengths of The Prince of Egypt lies within the character of Moses himself, and that comes through in one particular moment of animation, immediately after Rameses tells Moses that he and his people are free to leave. You would expect Moses to feel relieved that he has finally completed God's crucial mission, but in just one powerful moment, he collapses onto the ground feeling the internal pain of being dismissed by his stepbrother forever. That's not only great animation; that's great art. It shows just how much he cared for his stepbrother even when God's plagues not only wiped out half of Egypt, but also took away the life of Rameses' son, the one person that quite possibly made him happier to be alive. Speaking of God, it also shows how much God is like all of us after all. He is a good and merciful person, but he also has a temper sometimes, while also having the ability to express himself in unexpected (and tragic) ways. Overall, God is human, and to err is human. To life is human. L'chaim!
There are some pacing issues in developing the relationship between Moses and Rameses during the first act, but once Moses finds out where he truly comes from, The Prince of Egypt does nothing but soar through the rest of the picture, sometimes in unexpectedly powerful ways. Extraordinary animation, beautifully epic music, and a familiar story told with astonishing depth, this is one masterful work in the art of picture, sound and old-testament storytelling. Out of five fake camels with shades, I give The Prince of Egypt...
Until next time,
THE PRODUCERS
OH, I MUST TELL MY BIRDS!
Oh, and MEOW, of course!
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