"Stranger Than Fiction" *Major Spoilers*

Do not read this article if you wish for the plot of "Stranger Than Fiction" to remain secret. I figure that since the movie is now three years-old it is now safe to discuss the plot. I could give you the gist of the movie and leave you with some idea of whether or not you might like it without divulging the story's details, but those details are necessary in revealing what makes this movie such a success.

"Stranger Than Fiction" should be required viewing material for any aspiring writer, filmmaker, or producer of any media, not because of excellence in craft (it is nothing extraordinary in that department), but because of its powerfully relevant metaphor of an artist's responsibilities.

Will Ferrell plays Harold Crick, a middle-aged IRS agent who lives every day on a meticulous schedule. One day he hears a voice narrating his every move to him, and very accurately. The voice is merely a nuisance to Harold until it predicts his death. With the help of a Literature Professor, played by Dustin Hoffman, Harold discovers that the voice he hears is the voice of Karen Eiffel, an author who always ends her stories with the protagonist's death. Harold, with his IRS resources, tracks down Karen and confronts her. It turns out that Karen is in the process of writing a novel about Harold Crick, a character she believed to be fictional. She is also trying to find the perfect way to kill Harold in her story.

After meeting each other, Harold and Karen are both convinced that if she finishes the story with Harold's death, Harold will die in real life. Karen discovers the perfect way to kill Harold and gives him a handwritten ending of the story (before typing it in her typewriter, making it official). Harold gives the ending to the professor who tells him that it's the perfect story. He urges Harold to let Karen use that ending because it would be the most poetic ending, even if it means Harold's death. After reading the ending, Harold gives Karen his blessing, agreeing that the end is perfect.

SPOILER. After a series of events we find Harold lying in a hospital bed: battered, bruised, and very much alive. Karen brings the finished story to the professor, complete with her updated ending. The professor tells her that story is okay, but not the masterpiece that it was when Harold died. You know what? Karen is okay with it.

We live in an age where the stories we are told (movies, books, television) and the stories we participate in (video games) are full of sex, drugs, and violence. Children are conditioned to think that promiscuous sex can be romantic, alcohol can be a gateway to romance, and those who use guns and swords to solve their problems are heroic. Is it any wonder that rape, suicide, and murder are so rampant? The worst part is that the storytellers bear no responsibility for their actions. With their First Amendment rights, they will never be forced to leave those certain elements out of their stories, but they can choose to leave them out. Use Karen Eiffel as an example. She chose protecting a human being over writing a great story. Even if a story can be told more poetically with sex or violence, is it worth it? Is it worth being told at all? At whose expense is art gaining merit? The children of the world face enough tribulations as it is and deserve some real heroes to look up to. Even if it means they won't be quite as entertained. Are innocent lives the price we pay to make art?

"Sundays at Tiffany's" by James Patterson

Sundays at Tiffany's begins with Jane, a young girl with a wealthy diva for a mother named Vivienne. Jane appears shy and misunderstood and she seeks refuge in her relationship with her imaginary friend, Michael. It later appears that Michael, a handsome and charming thirty-something, is more invisible than he is imaginary. Michael leaves Jane promising that she will forget him completely. Fast forward about 24 years and Jane is working an unsatisfying job for her mother, is in an unsatisfying relationship, and still has not forgotten Michael.

I read this book because I was in the mood for feel-good romance. I have to admit that the premise for this book is original. I also enjoyed the element of fantasy in the book as it relates to imaginary friends actually existing outside of children's imaginations. We find Michael in between "jobs" (children to befriend and guide). He lives a seemingly normal life in New York City, is completely visible, and possesses a few neat powers.

Then Michael sees grown-up Jane. He is hesitant to approach her because it breaks some sort of "imaginary friend code' or something. They eventually meet and start to develop a relationship. This is where the book begins to spiral out of control. Not that it was in much control to begin with. Yes, the interpretation of imaginary friends is unique, but Patterson's/Charbonnet's prose is the ultimate downfall. Tiffany's is a story of love and destiny. A very poetic type of storytelling is required to convey that emotion; and Patterson just doesn't have it. I think he equates sappy with poetic because this story is not short on sap. Not by a long shot. Patterson also only describes the love between characters by writing variations of "she loved him" or "he loved her so much." This got tired fast. Still, for all that awful sappiness I still felt compelled to finish it. And I got through it very quickly. It doesn't drag (thank God), but it's definitely not worth the effort.

Hamlet 2

Hamlet 2 stars Steve Coogan as an actor-gone-high school drama teacher. His lackluster productions lead the school board to cut funding for the drama program on the eve of his original play intended to save the department: Hamlet 2. This sequel has Hamlet traveling through time with Jesus for some reason and is viewed as highly offensive by many. As a result, the school decides to cancel the play. But Coogan's character is bent on performing his baby.

Quite the premise.

Unfortunately, the film doesn't live up to the premise. The only funny moments in the film are when we see characters rehearse the play or discuss its scenes. This really builds up expectations for the final performance which doesn't end up being funny at all. It is built up to be so scandalous, over-the-top, and crossing the line, but in the end Hamlet 2 (play and film) is just not that outrageous. I was very frustrated because the premise and its star, Coogan, obviously have so much potential. But instead of relying on shock humor (I expected something in the vein of Matt Stone and Trey Parker) it settles for uninspired slapstick and unoriginal urban-meets-suburban student interactions.

Hamlet 2 was a vehicle built to soar, but never manages to lift off the ground.

Death Cab for Grammar

Continuing my previous rant on Death Cab for Cutie (a band I actually casually like)...

Something I have always taken issue with is the lyric "the rhythm of my footsteps crossing floodlands to your door have been silenced forever more" from the terrific song "Transatlanticism." The lyric is beautiful, descriptive, and moving... on opposite day! It should actually read "has been silenced forever more." The subject of the sentence is "rhythm," but it is written as if "footsteps" (the object of the preposition) is the subject. "Of my footsteps crossing floodlands to your door" is the prepositional phrase and should be removed when conjugating the verb. Once it is removed you are left with "the rhythm have been silenced forever more," making it obvious that "has" should be used instead of "have." The rhythm was silenced, not the footsteps themselves.

Now this is not a big deal. I post so many egregious errors on this blog that I often cringe when I go back to read my entries. The difference is, once I realize the error, I fix it. I realize that Death Cab cannot change the studio recording of "Transatlantacism," but I thought that they might revise the lyric when they perform it live. On Sunday July 5 at the Hollywood Bowl, much to my dismay, Ben Gibbard sang the word "have." Oy vey!

The New Pornographers, Tegan and Sara, and Death Cab for Cutie at the Hollywood Bowl 7/5/09

I must say that my first trip to the Hollywood Bowl was a very good one. It was a perfect night to be outside, the scenery was very pretty, and the venue's size did not hinder my enjoyment as much as I expected. My one qualm was with the sound. Though clear, the sound of more "rocking" songs seemed a bit wimpy. But I suppose this is understandable as the venue was intended for orchestral music, not rock and roll.

The New Pornographers took the stage first and played a very tight 30-minute set. Their performance of "Challengers" (the most acoustic song of their set) was very good and displayed gorgeous harmonies, but the chatter of the crowd took a lot away from the moment. It's too bad because that was the one song not hindered by the sound of the Bowl. There are a few songs I wish they would have played, but in 30 minutes they couldn't please everyone. I am pleased with what I got: a well-performed high-energy set of great music. The only issue I took was that singer A.C. Newman seemed to struggle with the harmonies of the last two songs "Sing Me Spanish Techno" and "The Bleeding Hearts Show." I doubt that this was an isolated incident because I couldn't imagine his voice hitting some of the notes on any occasion.

Tegan and Sara were up and running within 15 minutes of the end of the Pornographers set. Their first song, "Dark Come Soon," grabbed the audience's attention right away, but they were unable to keep that very firm grip. They used a good balance of banter and music to keep the audience engaged within their allotted 45 minutes, but suffered from what appeared to be a lack of practice. They played a gig in Seattle two days earlier, but are not currently touring and probably have not had tremendous amounts of rehearsal time with the band. Some of the transitions were a little sloppy and left the songs feeling less than dynamic. "Living Room" was the only song from their first two albums in their "Con"-heavy set and I was left wishing for a bit more diversity. I really enjoyed finally seeing Tegan and Sara live for the first time, but felt like seeing them headline a smaller venue would be much more fitting. "Nineteen" and "The Con" would probably rock more with a louder sound system and people would not be chatting during their quiet numbers. So this was basically a tease for me.

Then Death Cab for Cutie took the stage. I feel like I should begin to describe their set at the end of it: 17,000+ people on their feet, applauding as though they had just seen one of the most riveting performances in recent music history. Because they had... for about 8 minutes. Death Cab opened without the Philharmonic with a rocking "Marching Bands of Manhattan" and made cool transition from a song I'm not familiar with into "The New Year," but that was about all I liked about the first half of the set. The privilege of watching Chris Walla shred wasn't even enough to keep me interested. I admit I'm kind of growing tired of Death Cab, I don't like their new music at all, and I was bitter that such a mediocre band would sell out such a huge venue. So this review is a bit biased. I got my wish and they played "Summer Skin," but they didn't do it with the Philharmonic which continues to puzzle me.

After about 40 minutes, they left the stage promising to return with the Philharmonic. I have to admit that adding all those instruments made their sound much more dynamic. I don't really understand their insistence on rocking with songs like "Movie Script Ending" when more melodic songs (like "Summer Skin") really could have benefitted from the orchestra. After about 30 minutes of slightly improved music the audience was brought to the previously mentioned 8 minutes of euphoria. Yes, I am talking about the "Transatlanticism" finale with the LA Philharmonic in tow that I new was coming. I expected it, but I never could have been ready for it. The performance was great and the Philharmoic added beautiful texture. I was afraid they would make the song too busy, but they were able to evoke the wide-open ocean sound that they do so well on the record. And just when I thought it couldn't get better, the fireworks began. It was such a perfect visual and audial crescendo. Really perfect. I can't think of a performance that made me feel like that. It's amazing how a good finale can make you forgive an hour of mediocrity.

"Post Electric Blues" Idlewild

Gorgeous. Dramatic. Delicate. Those are all words that I would use to describe Idlewild's past music. Their newest album, "Post Electric Blues," earns a description that I never would have expected: delightful. Until now, I would have gagged at the thought of a "delightful" Idlewild album. But this one has grown on me.

Woomble and the boys bring the joy right away too. The first two tracks are verging on Polyphonic Spree level of sunshine. And they sound really good. The "it" song on this album is a precious little number called "Take Me Back to The Islands." It didn't grab me right away like "American English" and "El Capitan" (the "it" songs on the last two good Idlewild discs) did. But rather, its beauty snuck up on me after a few listens. And that's not the only difference. Woomble is no longer mourning over popular suicide destinations or proclaiming that happiness never happened. "Take Me Back to The Islands" is about having found a place of contentment and longing to return to it. That is what really makes this album work.

Woomble's lyrics indicate that he is no longer a restless soul, crooning over the darkness that is so prevalent in the world. He seems to have found peace. I am relieved to say that this peace has not put a damper on his poetic lyrical authorship.

"Post Electric Blues" is far from a perfect album and not even close to as solid as "The Remote Part." Idlewild has continued to push the folk envelope without fully letting go of their electric guitar punk past which makes the album seem slightly unfocused. I admit that I prefer the mellower side of Idlewild, but "All Over Town" is such a welcome electric track on the album. I really wouldn't change a thing on the album because it would risk destroying what Idlewild so effectively created: an album that reflects the peace the band seems to have found. The album is a place that I can retreat to and feel glad. Every time I listen to it, I am confident that something good exists in this world because it inspired "Post Electric Blues." This album fills me with a warm fuzzy feeling and, for that, I expect to return to this album again and again for many years to come.

Why Kyle is excited for this summer!

Hello friends. As the voice of my generation, I feel it is important to inform the public what I am excited about this summer.

Television:

The Tonight Show with Coco Christopher - I'm hoping Conan's new nickname catches on. Either way, I love this man and gladly welcome him back to television.

Music:

New Idlewild CD!!!- I don't know what it's called or whether or not a date has been announced, but I already paid for it so I better get it soon!! Their albums had been getting more and more folky from "100 Broken Windows" to "Warnings/Promises" before returning to their more sonic roots on their most recent album "Make Another World." It appeared that frontman Roddy Woomble channeled his folk energy into his solo disc "My Secret is My Silence." "Make Another World" was such a disappointment compared to past Idlewild CD's and Roddy's solo work so I can only hope that their new album marks the return of their folk meets sonic sound.

New Pornographers, Tegan and Sara, and Death Cab for Cutie with the LA Philharmonic Orchestra at the Hollywood Bowl

This will be the third concert I've gone to where I've been more interested in the opening acts than the headliner. And the first two, I walked out on the headliners. I've seen Death Cab once before, though, and I really like their less recent work. My one wish is that they play "Summer Skin." It's my favorite song of theirs and think it would be gorgeous with the orchestra backing. I also just flat out can't wait for Tegan and Sara. They're so hot right now.

Movies (oh so many, I'll keep it brief)

The Hangover - If they keep a balanced witty dialogue-to-slapstick joke ratio (I'm worried about too much slapstick) it could be the funniest movie of the summer.

Year One - "She's alright, but I wouldn't lay with her." I'm going out on a limb because this could be really bad, but I think it will be funny.

Twistee Treat- I'm a little upset that gay jokes have now infiltrated PG movies and I don't think the "funny" older brothers look that funny. But the star Robert Newton looks like he makes a very likable awkward teenage protagonist. I think he could create some really enjoyable interactions with his female costar in this 15-minute short.

Brüno - I didn't think Brüno was as strong of a character as Borat, but the trailer has restored my complete faith in Sacha Baron Cohen. It looks hilarious.

Paper Man - What you need to know: 1) Jeff Daniels plays an author who has an imaginary super hero friend. 2) The super hero is played by Ryan Reynolds. 3) It's got Jeff Daniels!!

Ponyo - I have been looking forward to this movie since last year. Miyazaki has made a more cutsie, kid movie than his last two and I am so pumped for it. His childish "My Neighbor Totoro" is one of my favorite stories of all time. If I had to bet on one filmmaker to make movie magic. Powerful, beautiful magic. I would put every last penny on Miyazaki.

Funny People - Apatow's movies all just seem to be right up my alley. This one looks even more sentimental than his others, and I think I'll like that. It also looks like it's finally putting Adam Sandler back in a good movie.

Extract - Underrated funny man Mike Judge returns to cinema. What Judge lacks in gut-busting laughs (of say, Apatow) he makes up for by putting unique characters in interesting situations and getting you to care about them (as opposed to Apatow's winning "insert generic Seth Rogen character here" formula). It's also got a great cast. I will watch Kristen Wiig in anything and Ben Affleck looks like he'll actually be funny.