Thursday, July 20, 2006

in case your day goes in the wrong direction.

in case gravity pulls a 180 and you fall into the sky.
in case a man on the street guns you down with his eyes.
in case you need a shot of optimism sans cheap sentimentality.

Wednesday, July 19, 2006


I think Maggie Gyllenhaal might get a Best Supporting Actress nom for "World Trade Center".

...don't ask me why.

Monday, July 17, 2006

stand above your life and do it.

the streets are empty
and it's 12:42 at night.

i'm walking down the main drag
a bud in each ear.
they're blaring horribly cliched lyrics to an age-old beat
that i still can't bear to turn off.

car crosses the street a few blocks down,
looks like a patrol.
we won't bother each other tonight.

i could say
what i think
but it would not get across
what i feel.

and all that goes with it
is only yours.
you can love moments in your life
you can, reminisce about that day when you rode your bike through the cars on the street and how you almost crashed into that old woman and then laid in the park drinking pop and laughing about that one joke which over time has lost its touch. (what doesn't?)

but telling the story
will never give the person the feeling.
of enlightenment
of contentment
of pure exhilaration.

while i tiptoe along the curbs, a familiar song plays down the block.
i glide at a faster pace, and i see a figure twirl and flow up above
and it's you.

i walk upstairs to the second story of buildings
sneak to the large entry,
and watch you perform the admirable task
of tap-dancing with your soul and unabashedly loving life.

i make my presence known
and you stop.
(but you don't make excuses for your little show, clever girl)

i offer to walk you home
you smile and take it.

and as we walk these lonely streets
with no alert life around for miles
we blare a tune from your boombox,
and swoon along this asphalt-ridden lane.
we remember...
and then we go home.

rain begins to come down
as we lay on your bedroom floor and watch it fall.
i stay with you tonight
and hold your hand.
we're not the sort of fools who let such moments become misinterpreted (or ruined, on account of physical desire).
instead, we're the sort of fools who hope that oneday we can relive some of these misbegotten adventures without care of age or label or social stigma.

it will never happen.

instead tonight
we will relive the past
and all that came with it
and laugh and smile and say goodbye.

we do so.

and then we fall to slumber
in the warm comfort of nostalgia
unwilling to entertain the possibility
that it was never that good to begin with.


this is a universal story,
and my version may not particularly work for you.
yet still
the message is
that we must never allow ourselves
to believe that there was such a time
where everything was
and i hate the word
an illusion invented
by the most naive of persons
whose great calamity was introducing to people the idea
that the past might've been better than we'd known at the time.
(it wasn't.)
it can be,
but only if you alter certain sections.

my words on the subject may have already been spoken
and such sentences may have been repeated for years and years
and i may in fact hold no actual sense of identity at all.
i may be renting out a persona
available at your local idea of heaven.

the words that i use and the notions that i present may never be my very own.

i will instead rely upon the knowledge
that my sole fleck of individuality
comes from my scream.
for no one will ever do so
for a reason similar to mine.

fending off against the dissenting and disenchanted maggots of society,
it's my preferred weapon of choice.

Sunday, July 02, 2006

Mid-year awards

2006 is halfway over. Hard to believe. We've got a few good films from it, but nothing to compare with the wonders of 2004, when we were so lucky as to have Kill Bill Vol. 2, Eternal Sunshine of the Spotless Mind, and arguably The Passion of the Christ.

my picks, for so far:

Best Picture:
United 93
V For Vendetta
A Prairie Home Companion
Hard Candy

I'd give it to United 93 for its... astounding and surprising success at taking a tragic event and presenting it to us as truthfully as it can. Stone's film looks to have an upbeat feel to it, and I don't feel that's what should be done. That day, is a historic tragedy, easily one of the eeriest and most unsettling days in our nation's history. To compromise that with saying, "It was a horrible day, but we got out of it and hope prevailed" is bullshit. We, as a nation, are not TOTALLY in the gutter, granted, but as a result of that day we're in another unnecessary war, we have corporations taking advantage of every penny they can find by blaming the wretched event, and we have people talking of conspiracy within the government itself saying that they knew about it and did nothing to stop it. (Wouldn't entirely surprise me, honestly. We all know they'd been wanting to go to war with Iraq for some time, and this gave them reason to do so.)
But I'm not making assumptions and I'm not even gonna talk politics. What I am going to say is that United 93 shocked me to the point where I burst out into tears halfway through the film, and did not stop until after the credits had rolled. I haven't cried in a movie in two years. This broke the mold. For that reason alone, it would've gotten a nom. The fact that it is such an unmitigated artistic success is what makes me pleased to award it with the wonderful stamp of "Best Film so far this year".

Winner: United 93

Best Actor:
Joseph Gordon Levitt - Brick
Aaron Eckhart - Thank You for Smoking
Denzel Washington - Inside Man

Eckhart and Washington are fillers, this easily goes to Levitt. He gave one of the best performances of last year in Mysterious Skin, so to see him do a complete 180 and present this fine piece of work, I was ecstatic as I don't know what. Brilliant.

Winner: Levitt

Best Actress:
Meryl Streep - The Devil Wears Prada
Ellen Page - Hard Candy
Natalie Portman - V for Vendetta

Portman did struggle a bit with Vendetta, but she's still young. She'll master the accent eventually, and even so she still managed to turn in a very respectable perf. Meryl Streep once again astounded with Prada, but neither compare to the brilliance of Ellen Page. To go from an innocent to a sadist in such a short amount of time and make us buy it? Nom-worthy. But to take hold of the role, to shake it to its very core... to utilize every single moment you have and just bring the audience to its knees? Oscar worthy. This is the best performance of the year thus far.

Winner: Page

Best Supporting Actor:
Paul Bettany - The Da Vinci Code
Clive Owen - Inside Man
Kevin Kline - A Prairie Home Companion

Kline makes anything and everything he participates in work. Brilliantly. And Clive Owen is like Morgan Freeman in the way that he doesn't have to do a damn thing differently for each role... he just reads the script and he GETS IT. He's so deliciously good in this, it's... sinful. But Bettany, as the albino whack-job who believes he's fighting for the lord's word, is as tragic a figure as I've seen in years. He pours pathos into his very core, and makes this strange figure into the only bit of that film you can't take your eyes off of.

Winner: Bettany

Best Supporting Actress:
Nora Zehetner - Brick
Jodie Foster - Inside Man
Emily Blunt - The Devil Wears Prada

Foster: A "magnificent cunt". And almost unbearable amounts of fun.
Zehetner: The sexiest performance so far this year. She exudes charmisma, grace, and packs a wallop as the femme fetale of Brick. She also gives my favorite line reading thus far this year: "Keep up with me now." Babe, if only I could.
I'm giving the award to Blunt though, because she took what could've been a boring, basic bitch of a character and turned her into something real. She's still a bitch, but damn if she isn't just the funniest, wittiest, most vibrant bitch this side of Rachel McAdams in "Mean Girls". Glorious.

Best Director:
Paul Greengrass - United 93
Rian Johnson - Brick
Robert Altman - A Prairie Home Companion

Altman is a master. We all know that. But that doesn't stop you from getting goosebumps when you feel his touch on a film. Here, he throws in a little death with his light comedy, and the result is the funniest and most vibrant film so far this year. Johnson has not only revived the noir genre (laid to rest these past few years), but also infused it with modern day situations and characters. Brilliant.
But nothing will beat Greengrass and his meticulous attention to detail, as he manages to infuse an incredible amount of mourning, celebration and respect for the men and women on board United 93. Some will never view the film, for one reason or another, which is a shame really. Because I highly doubt any other picture will come as close, be as painful or show as much respect to the passengers as this film right here. What a magnificent motion picture.