Category Archives: alec baldwin
Rise of the Guardians ~ This is a fun animated adventure that I actually enjoyed quite a bit. It’s sort of like there’s a Justice League of mythical beings who protect the children of Earth – Santa Claus, the Easter Bunny, the Sandman, and the Tooth Fairy. When the Boogeyman, Pitch Black, rears up to change the status quo for the more evil and nightmarish, these Guardians are called together, but must take in a new member, the reluctant Jack Frost.
There is great voice work here as well as interesting takes and personalities on the different Guardians. Hugh Jackman, being chief among the voicers, is extremely good. Jude Law as the villain, and Alec Baldwin’s Russian Santa Claus are also good. Very entertaining, I wish I’d caught it in theaters so I could have seen it on the big screen.
Guardians strikes me at many levels being similar to the Rankin/Bass holiday specials of my youth. Here are tales of Santa, the Easter Bunny, etc. for a new generation, and just as believable as they were back then. You’ll leave this movie feeling refreshed and filled with hope, and not just a little childlike wonder. This is how a Superman movie should leave you. Maybe we can hijack those writers for the next chapter in that franchise.
Rise of the Guardians was a breath of fresh air and good entertainment for the whole family, recommended.
Here we are with episode three of “The Cape,” and perhaps it’s time for a bit of credit where credit is due. The series was conceived by writer/producer Tom Wheeler and realized by action director Simon West among others. Either way, this is Tom’s baby, and quite an adventure. He’s built a continuity from the ground up, and inspired by the heroes of the pulps rather than anything contemporary, so far so good.
This episode in particular is notable, to me at least. It caught the attention of my mom-in-law, who liked it. She’s about as far from the comic book genre community target audience of this show as you can get, so extra points to Tom Wheeler and crew for nailing that elusive mainstream audience. Unlike “Heroes” before it, “The Cape” just might have a longer shelf life, especially if it continues like this.
I couldn’t wait for this episode because of the title. I remembered from the pilot that Kozmo was the name of the man who used the ‘magic’ cape before Vince Faraday. Come on, we all knew he’d come lurking back into the picture, for the first time, sooner or later.
It starts well, Gregor the Great, escapes from a Russian prison, establishing himself as a little bit Houdini, a little bit evil Mister Miracle, and we just know where he’s headed. Next comes the animated credit sequence, some of which seems to have been lifted from the online graphic novel, but it’s not, rather a montage of the actual The Cape comic book used in the show. When a bridge confrontation follows, right out of the beginning of Alec Baldwin’s The Shadow, I am once again hooked.
I am surprised when Gregor shows up and calls Max Malini Kozmo. It seems that Kozmo is a legacy, much like the Dread Pirate Roberts, and an identity that is passed down for decades. Max, after seeing what Gregor was capable of with the cape, decided to cut the legacy short. There is much made in this episode that the cape may really be magic, and that there may be more to this world than we thought.
Other highlights this time around include Orwell finally meeting the Carnival of Crime, which is interesting, especially seeing The Cape’s two worlds come together. There’s also the much un-subtle and too obvious reveal of who Orwell really is. I wish it had been done better.
Also on the side of not-done-well is the set-up for the duel of the cape between The Cape and Gregor. It is sudden and clichéd. I thought we were finally going to get to see the Carnival perform, and was looking forward to it too actually, and it becomes awkwardly a fight scene. There was definitely some clunky writing here, and I was disappointed. There’s still enough here to bring me back, hopefully this was just a fluke.
The best, absolute best, part of the whole thing was the opening number with Neil Patrick Harris. After only five minutes with co-hosts Steve Martin and Alec Baldwin, I was bored to sleepy tears. Why the hell couldn’t NPH have hosted? At least I could have stayed awake – and I was even rocking the fast-forward button and was bored with Martin and Baldwin. There was no chemistry and especially no humor. NPH for next year’s show, folks, okay?
I thought the animated bit was brilliant, and as I said, if Up won, it took it out of the running for Best Picture. More bits like this would be welcomed. On the presenters, I found them more engaging and refreshing by far than Martin and Baldwin – why not next time just have a dozen different presenters and no hosts? And why didn’t they have each song performed live on the show? That’s something that folks look forward to – why get rid of it? Hopefully not to make more time for Martin and Baldwin’s nonsense…
The entire presentation for Best Screenplay with Tina Fey and Robert Downey, Jr. was brilliant. If we’re talking about how to make this show better, this is a step in the right direction. But, who dressed Downey? Wow. Also on the right track was the tribute to John Hughes. Double wow.
On the bad side, halfway through the Awards I was becoming increasingly annoyed with the clips that frequently were cut rife with spoilers and misinterpretations. These were done for each acting and Best Picture presentations mostly but I really wonder how the folks involved in those films and performances felt about them. Stanley Tucci was visibly shaken when the clip of his Supporting Actor bit was shown.
Ben Stiller should join Steve Martin and Alec Baldwin as unfunny people who should never host the Awards. Mo’Nique gave a near perfect Oscar speech, just enough of what should be in there, and not too much of shouldn’t. I see the tradition of playing folks off when they go too long is still in place – and still very selective. The tribute to Horror was a bit odd. And wasn’t Silence of the Lambs quite some time after The Exorcist? Someone on the Oscar writing staff needs to do their research better.
The intentional inclusions of clips of Martin and Baldwin in the tributes for no other real reason other than they were the hosts were becoming quite irritating as well. Not as much as their actual hosting however. The dancers doing their thing to the scores was no satisfying substitution for song performances, in my opinion. On the other hand, James Taylor singing “In My Life” during the memoriam was a really nice touch, another highlight. But where were Bea Arthur and Farrah Fawcett?
It was cool for me to see two of my favorite directors, Pedro Almodovar and Quentin Tarantino giving away the Best Foreign Film Oscar, a real treat. And what was up with the lamp background? Did the Academy run out of money when it came to stage backdrops?
On the winners, I was glad Michael Giacchino won for Best Score, as he’s my favorite composer these days. I had at least a few of my guesses right. You guys were close but not quite right with the poll to the right, as The Hurt Locker won Best Picture. All in all, this was a tolerable show, not great but not abysmal either. Remember, next year, get Neil Patrick Harris for the whole show.
And oh yeah, go, Sandra!
Despite one of the better (or at least more interesting) commercials this year being banned from being broadcast, there were still a few ads that stood out during this year’s Super Bowl.
The main idea is to surprise, entertain, and most importantly let the viewer remember the name of the product when it’s all over. I mean everyone remembers the amazing Big Brother commercial from 1984 – but come on, who remembers what they were selling?
Let’s start with a good one from Doritos that aired early in the game…