Phoebe in Wonderland (2008)

I'm gonna try not to say too much about Phoebe in Wonderland, because it's just the kind of movie you should watch for yourself. Provided it's the kind of movie you like to watch, which isn't going to be the case for everyone. It's a drama, for starters. And it's about a young girl who appears to have a mental problem of some sort, that makes her particularly prone to breaking rules, and causes her considerable distress. The part is played amazingly by the enchanting Elle Fanning, who totally carries the film. The girl, Phoebe, finds some solace in playing the lead part in her school's production of Alice in Wonderland, and finds something of a kindred spirit in the unconventional drama teacher. Meanwhile, Phoebe's parents try to deal with her at times problematic attitude, reluctant to admit that there's anything clinically wrong with her.

The great thing about this movie, for me - aside from Elle Fanning, who is every bit as gorgeous and charismatic (not to mention talented) as her sister - is both that it deals with the difficulty of living and coping with a mental disorder, and that it takes its stance firmly in the camp of us eccentrics, who are often harassed and our lives generally made miserable by the normies, who not only make up the majority of the population, but also dictate how society runs. Unfortunately, eccentricity and mental illness are often not far apart (and there is much more to be said about that). I think that probably a lot of people wouldn't relate to this film the same way I did, and apart from the question of whether or not it's a good film (and I definitely think it is), may or may not simply like it like I did. But for what my opinion is worth, I unhesitatingly give it a full 10/10.

Super 8 (2011)

Tonight was the anticipated release of the new J.J. Abrams project, produced by Steven Spielberg, and starring Dakota's lovely sister Elle Fanning - the film titled Super 8. It's rare that I go out to see a movie on opening day (or in the theater at all) - not because I wouldn't like to, but because I can't afford to. But I figured that considering my current obsession with Dakota Fanning, it would be insane to pass up the opportunity to see this exciting new film her sister is starring in. Plus, I've been hearing good things about it.

Having now seen it - and gone to unusual lengths to get to the theater - I can say that it was definitely worth the effort. Hype doesn't tell me anything because every movie gets hyped up, and not every one deserves it. But forget what people are saying, this movie is a lot of fun. It has something that so many films lack - style. It's funny, but not in the way that the comedy is forced. The conversation is natural, and you laugh because the characters are genuinely funny, and also genuinely charming. But this isn't a comedy, and that's why it works. The humor makes watching the film a fun experience, but it's not what you're there for, you're there for the story.

What I didn't realize about this film until the last minute is that it's actually a retro '70s throwback film. And that's where a lot of the style comes into play. It's not over-the-top in the same way that an exploitation film is - like the recent grindhouse throwbacks: Planet Terror, Death Proof, Machete, etc. But it has that same kind of freewheeling love-of-the-cinema atmosphere. And it does go over-the-top in a few humorously ridiculous action scenes. And since the story within the story is about these kids directing a homemade movie of their own (a zombie film), that really drives home the point that this is a movie created by people who really love making movies.

Elle Fanning is really great in this role. But the rest of the cast - especially the main gang of kids - all hold their own in creating a lovable ensemble. I fear this may be a rather strong statement, but I'm tempted to say that Super 8 is The Goonies of the 21st century.

My brother was worried that the movie would turn out to be a lot sappier than the trailers (that I saw) suggest. There is some drama in this movie, but it's sweet, and it doesn't take away from the excitement, or the action. There's room for feelings in a movie like this; if you want a brutal two hours of film with no morals and no sensitivity, there are other titles to suit that bill (many that I've seen, and many that I've liked). But this movie, this movie is about having a good time.

I could say some things about the monster, but I'm hesitant to spoil anything. I'll try to be discreet, but as usual, if you really don't want to be spoiled, skip ahead to the next paragraph now. I'm tempted to call this film sort of a Cloverfield Jr. My standards for monsters in monster films are pretty high. Rarely do you get something as terrifying as H.R. Giger's xenomorph, or as horrific as John Carpenter's The Thing. I would rate the monster in Super 8 as falling short of being truly impressive, but good enough to hold the story. After all, this is less of a horror movie than a sci-fi thriller.

For those concerned about this being one of those shaky-cam found-footage type films, it's not like that at all. The production values throughout the film are solid.

In short, you should definitely go out and see this film. It's not just a good movie, it's a really fun movie to watch. And that's something you don't see every day.

Double Dakota Feature: Sweet Home Alabama (2002) & Uptown Girls (2003)

It's funny, I remember seeing the trailers for Sweet Home Alabama when it came out, but I never saw the movie. Personally, I think that song is overrated. Everybody loves it, but you hear it so much, and it's truly one of Lynyrd Skynyrd's poppier songs. I like a lot of their music, but not so much that song, although it's inevitably become the de facto rock anthem for Alabama.

As for the movie itself, it's a kind of annoying story about an upcoming fashion designer in New York City who has to head home and confront her rural roots after her boyfriend (the mayor's son) pops the question. I say annoying because there's this whole conflict between city manners and country ways - and not to disparage either one, but the lovely Reese Witherspoon (who plays the lead) gets caught in between and can't seem to decide between them, when it feels like the answer should be simple. But I guess those complications are what make the drama, and I'll admit, I was taken in by the romance that influences the final decision (even if it's pretty cheesy).

Dakota's role in this film is minuscule. She plays the 10 year old version of Reese's character, and only features for a couple minutes at the very beginning of the film. But, it's a romantic scene that involves a kiss during a lightning storm!

I wasn't sure if I'd like a movie titled Uptown Girls. Not because I have anything against uptown girls, but every time I read that title, the song gets stuck in my head - and it's not really my type of music. But it turned out to be pretty good. The charismatic Brittany Murphy plays the grown daughter of a rock star, living like a modern day urban princess, until her financial sponsor skips town, and she has to learn to fend for herself. She gets a job looking after a severely uptight, germophobic child played by Dakota Fanning. The child, nicknamed Ray (short for Lorraine), lacking much parental affection, has adopted an unusually adult demeanor, whereas the rock star's daughter, Molly, herself still behaves like a child. The two don't get along at first, but they have a lot to teach one another.

I hate to admit that, this time, Dakota's character crosses the line from adorably precocious to downright annoying, but then, that's her character. She's still adorable, though, and I love her sarcasm and cynicism. And Brittany just lights up the screen. I'd have to say these two actresses really make the film, which turns out to be an amusing (and a little bit touching) dramedy. But the interaction between these two characters is where it shines. And the film culminates in a surreal theater performance that involves a squad of tiny ballerinas carrying electric guitars. Yeah. I wouldn't believe it if I hadn't seen it myself.

"Why are you buttering my plastic scone?"

Double Dakota Feature: The Cat in the Hat (2003) & War of the Worlds (2005)

I wasn't expecting The Cat in the Hat to be all that good - and it wasn't - but it wasn't quite as bad as I expected, either. In the beginning, seeing the wacky world of Dr. Seuss brought to life in 3D was actually exciting (I love that all the girls wear dresses with super poofy petticoats). But once the cat showed up, the comedy devolved into slapstick-style shenanigans, which isn't my cup of tea. I regained some interest after some semblance of a plot appeared, but it didn't change the fact that the cat was possibly the weakest aspect of the film.

Now, I'm sure Dr. Seuss was some kind of creative genius, but I haven't dedicated my life to his collected works, so my faith in humanity doesn't hinge on the success or failure of this cinematic adaptation of his story. And it's been many years since I've actually read The Cat in the Hat, so I'm not in the best position to critique the differences between them. But when the cat shows up, he delivers a line that seems to sum up this film's approach, which I suspect is where it deviates from the original book's modus operandi:

"I'm not so good with the rhyming. Not really. No. ...Look, I'm a cat that can talk. That should be enough for you people!"

And at that point, we go from creative wordplay to plain silliness. The cat is played by Mike Myers (the actor, not the bogeyman), and it's probably a testament to his iconic brand of humor (or, depending on your perspective, his poor acting skills) that you can really tell it's him even under all that ridiculous makeup. But while I think Austin Powers is comedic genius, The Cat in the Hat is much less inspiring.

Even so, it is a charming story, if simplistic. I bet most of the flaws can be overlooked by anyone who actually enjoys this particular brand of humor - assuming they're not hung up on the feeling that this movie stains Dr. Seuss' legacy, as many apparently are. And Dakota Fanning is (unsurprisingly) darling as the exceptionally bright little girl with control issues. "Jenny's not my friend anymore. She talked back to me so I ordered her not to speak to me." Ah, Dakota. It's a testament to her charisma that I felt watching a movie of this type was actually worth my time in the end.

I had wanted to pair The Cat in the Hat with Hansel & Gretel, but I couldn't find the latter, so I dug up War of the Worlds instead - in spite of the fact that I had already seen it, back when it first came out. But I decided it would be nice to have a chance to re-evaluate Dakota's performance in the movie, since the first time I watched it, I didn't even know who Dakota Fanning was (hard to believe, I know :p). And besides, it's an entertaining (if not perfect) film adaptation of a truly classic story, so it was exciting to see it again after several years.

I don't know how I overlooked Dakota in this movie before, because her performance is really strong. But I guess there is less opportunity for her natural charisma (and confidence) to shine through when her role dictates that she act like a very frightened little girl. And for once, the epic scale of the movie itself has a tendency to overshadow Dakota's character, so that it becomes more of an alien movie that happens to feature Dakota Fanning than a Dakota Fanning movie that happens to have aliens in it. Nevertheless, amidst all the chaos and the terror - and my suspicion bears out that this is at least as much a horror movie as it is a sci-fi movie - Dakota still manages to make an impression. (Even grimy and covered with dirt, which to me recalls the character of Newt in that other, classic sci-fi/horror/action flick - Aliens.)

Robin Trower - The Playful Heart Tour (2011)

Looking back, I'm actually surprised that this is the third time (and not the second) that I've seen Robin Trower in concert. Not that that's anything remarkable - he is one of my favorite guitarists of all time, after all. But it just goes to show, I'm not a newbie concert-goer anymore - I've been going to concerts for almost a decade now.

But this was a brand new venue. I've actually avoided coming to this venue in the past (Robin Trower and Joe Bonamassa both have done shows there that I've skipped), because it's a little farther out of my way. But it's a nice place, and it's not too hard to find. Fancier than the Rex Theatre I've seen Trower at in the past, and more on par with the Carnegie Music Hall of Oakland that I saw Joe Bonamassa in earlier this spring. My seat was up in the balcony, but in the front row (not unlike at that Joe Bonamassa show), so that I wasn't super close, but I at least had a good view of the action.

I was actually a little rushed getting out to The Palace Theatre, thinking the show was going to start promptly at eight ("the circus starts at eight, so don't be late"), since there was no mention whatsoever of an opening act on the ticket. I got there just after eight, and a rock trio was playing. I have no idea who it was. Looking back at my records, I had no idea who the opener was for the last Robin Trower show I saw either, so I guess that's just Trower's thing. Anyway, they were alright. The guitarist was a show-off, and he was good, but the sound was kind of off, to my ears.

Robin Trower opened with a surprise - a song that I was very happy to hear, Confessin' Midnight. I still maintain that despite the greater popularity of Bridge of Sighs, For Earth Below is the superior album. And I am thus always grateful to hear Robin perform tracks from that album in concert - and I like that he does, because it shows that he recognizes that album's brilliance as well.

The next surprise I got was the third song in the setlist. Robin introduced it as a track from the In City Dreams album. I was at first dismayed, because that album's not quite on par with his first three - but I should have trusted Trower's judgment. It was the track Somebody Calling, which is a fantastic funky rock number that I absolutely love. And it sounded great in concert. One of the highlights of the show.

Following that was a double shot of title tracks - first For Earth Below, which sounded really sublime in the instrumental coda, and then Twice Removed From Yesterday. Then we heard the usual Day of the Eagle into Bridge of Sighs combo. Even though I've heard them live before, it was interesting to hear them from the perspective of having played them myself semi-regularly. So instead of just listening and being impressed, I can actually pay closer attention to how the song comes together, and where Robin plays the different riffs, and how he works out the solo. Of course, I can only follow so far, but it's still interesting - I've picked little things up here and there that way, before.

I don't want to be a downer, but Bridge of Sighs wasn't as sublime as it has been in the past. I don't know if it's because of the way Robin played it, or just because I've heard it a few times already, and its magic is wearing off. Notice, I'm not saying it was bad, just less magical. It still sounded great. But afterward, the band kicked into Shame The Devil, another track from For Earth Below - and one of my favorites. I was really excited to hear that one, though it seems like they cut it a little short. Oh well.

Funny story, before I went to the concert, my brother asked me if Trower was promoting a new album, and I mentioned The Playful Heart. He asked me if it was any good, and I mentioned that there was one song on it in particular that I really liked. I decided that there was no way he'd play that particular song at the concert, because these guys always do the hit songs, skipping the ones that are truly the best, musically. Strike two - I really shouldn't doubt Trower. He played only one track from his new album throughout the concert, and it was that one track that I liked the best - a song called The Turning, which has a sublime instrumental coda.

Yeah, that's kind of a motif in Robin Trower's music - instrumental codas (that are often sublime). It's funny, in a lot of songs, the band would go through the first half, and then Davey Pattison (returning vocalist from previous concerts I've seen) would walk off the stage for the second (instrumental) half of the song, only to come back for the next song.

After the crowd-pleasing Too Rolling Stoned, the band finished out their set with Little Bit of Sympathy - in my opinion, one of the best set-closing songs ever. I was actually a little surprised when I heard it, because I knew it had to be the last song, and it felt a little early. The band played for a good hour and a half all told - I guess I was spoiled by Joe Bonamassa's long set in March, but then he actually didn't have an opening act.

The whole encore production ("walk off the stage pretending to be done, even though every single person in the audience knows you're gonna come back and do an encore") was kind of silly. I thought to myself, if I was in their place, I wouldn't go through all that silliness just because people expect it. I wouldn't walk off the stage pretending I was finished unless I actually believed I was finished - and encores would be encores, not closing mini-sets. But then I thought, if a band did that, then after they were finished, the crowd would expect an encore (because that's what they've come to expect), and would probably riot if they didn't get one. So I guess the band's hands are pretty much tied. They have to jump through those hoops because that's what people expect them to do. It's kind of sad, and I wish there was a solution for it.

The encore consisted of two songs. The first was the only song of the night I didn't recognize, and the second was Daydream. Daydream is my favorite Robin Trower song bar none. And it still sounds fantastic live. It's a beautiful song to start, and it suits Trower's tone and technical style of playing guitar perfectly. Though I feel he may have set the bar for it too high on the live version from his Live album from the seventies, with those impossible sustained notes. You can tell the whole audience is expecting to hear a repeat of that performance, but sustain is a hard thing to control. Nevertheless, the song sounds fantastic even when it doesn't reach those heights, and while you're busy wishing for the stars, you find that you've settled in cozily among the fluffy clouds.

Setlist:
Confessin' Midnight
Lady Love
Somebody Calling
For Earth Below
Twice Removed From Yesterday
Day of the Eagle
Bridge of Sighs
Shame The Devil
The Turning
Too Rolling Stoned
A Little Bit of Sympathy

Encore:
Rise Up Like The Sun
Daydream

Double Dakota Feature: Charlotte's Web (2006) & Dreamer (2005)

I don't usually go in for talking animal movies, but like I've said before, I'll watch anything with Dakota Fanning in it. At least it's live action, and not (fully) animated - that's where I draw the line. And anyway, it's Charlotte's Web. I remember reading that story too many years ago in school. Not the best story I ever read for school (I recall A Day No Pigs Would Die being a little bit more...visceral), but it's a nice one. Too nice, maybe. It's a really sappy story. The pig was really cute, though (I can't believe I just said that), and Dakota was (of course) even cuter. Especially in the pretty yellow dress and red ribbons she wore at the fair.

"Ewww! You look like a giiirl!" *pow* "An' I still hit like one."
It's weird, this is a children's story, and you want to believe it's all fun and happy, but it's really a sad story, isn't it? I had this heavy feeling through it all, because I knew how it was going to end. After all, it's a pig's desperate attempt to avoid becoming breakfast. I even cried when (spoiler) died. I like the theme of looking past stereotypes to see the good in 'people', but honestly, I can't find the good in spiders. Charlotte is a wonderful human being, but in real life, spiders are creepy. But then, animals don't act like people in real life, so you can only take the comparison so far. I imagine this film would be a satisfactory supplement to the novel.

Part 2 of the "Dakota befriends animals" program features Dreamer: Inspired By A True Story. In it, Dakota plays the daughter of a racehorse trainer (played by Kurt Russell), who ultimately gets her chance to race a horse of her own, literally against all odds. It's a very touching story, and a bit more mature than Charlotte's Web. Kris Kristofferson plays Dakota's character's grandfather, and a surprisingly convincing father to Kurt Russell. The horse in the story, Sonador (Spanish for "Dreamer", 'Sonya' for short) is a sweetheart.

Dakota really shines in this role, as a little girl with the confidence to teach others the value of holding on to one's dreams. Of course, at the risk of spoiling the [fairly predictable] ending, things go impossibly well, which has the double effect of making it a highly inspirational story, but at the cost of making it less than relatable in real life. Still, if you like inspirational stories (and despite my cynicism, I enjoy watching things go right for people on occasion - especially if it's Dakota), this one'll probably be an exciting ride. And, to repeat myself (though I'll never get tired of saying this), it's worth watching for Dakota's performance alone. She's just so incredibly charismatic. I love her can-do attitude in this one.

"Are you gonna spend your life shovelin' horse squat for shakes?
Or are you gonna get back in the game?"

Double Dakota Feature: Hide And Seek (2005) & Fragments (2008) [Bonus: Cutlass (2007)!]

"Daddy can't save me now."

I was excited when I discovered that there was a real bona fide horror movie among the list of films Dakota Fanning has starred in. However, my first impression was that I didn't like that she had darkened her hair, and I was a little disappointed that she was not her usual chipper self. Nevertheless, I was very impressed; she makes a totally convincing creepy child character. Proof that she's not just a pretty face, but a great acting talent as well. And her morbid look actually did grow on me.

As for the movie itself, it was genuinely creepy. I hesitate to say too much, as it is a mystery/thriller, and I don't want to give anything away for anyone who hasn't seen it yet. (So if you really don't want to be spoiled, you might skip ahead to the next paragraph now). But I have to mention that despite looking like another cliched "is it an imaginary friend or a ghost" plot, it actually turns out to be something I wasn't expecting. Even if they did stoop to using the lamest trick in the horror filmbook - the cat jumping out of the closet. Honestly, I can't tell if horror films are still doing that in earnest, or if it's a joke, or just an homage to the genre. Anyway, I won't hold it against the rest of the film, and besides, this one makes up for it via the inclusion of a different and much creepier cat-related scene.

So, Hide and Seek is not the greatest horror film I have ever seen (granted, I have seen quite a lot), but I liked it. Bob De Niro (;p) is pretty good in it, too, in something of a more sensitive role than I'm used to seeing him in. But if for no other reason (and there are others), it's worth seeing just for Dakota's performance. She manages to make depressive mental disturbance so very endearing.

"Whatchu drawin'?"

"You, dying."
Intermission: Cutlass (2007)

Cutlass is a short film written and directed by Kate Hudson, who I can't help remembering as Penny Lane in Almost Famous. It features an all-star cast, including Dakota Fanning in her most outrageous role yet - a normal teenage girl. She wants to buy an expensive guitar (a vintage '79 Gibson Hummingbird), but her mom is reluctant - until she recalls her own teenage years (her younger self played by a totally hot Kristen Stewart) when she wanted desperately to buy an expensive car (a 1976 Oldsmobile Cutlass). The film's only 16 minutes long, but it's a lot of fun, and features other stars I haven't mentioned, so definitely, it's worth seeing if you can get your hands on it.

"It's not just a guitar, it's my life."

Fragments (a.k.a. Winged Creatures) is a heavy film. It's a shame it's so depressing, because Dakota looks absolutely amazing in it. Unfortunately, though, I found her character to be a bit annoying, but then, I understand that the point of this film is to show the characters in what is decidedly not their best moments.

Expanding on that, the film tracks the aftermath of a random diner shooting, and examines the unique way in which each of the survivors deals (or avoids having to deal) with the trauma. One man, who is shot and survives, tests his luck at the slots. A girl who lost her father (Dakota's character) turns fervently to religion. A boy refuses to say a word after the incident. A doctor desperately clings to his ability to help people. And in the process, we learn a little bit about each of these (and other) characters.

But it's not easy to take in. These characters are acting under considerable stress, so the logic behind their actions is not always obvious. And the film can be kinda subtle on certain points. But watching these characters deal with their emotions is, to me, interesting. But not easy. It's not a very happy experience, and there isn't much of an uplifting message, even at the end. The process of recovery is a very slow one, but for many people in life, this is something they have to endure. That's what I believe this film is about.

I would show you a thousand screenshots. I really would.
So don't tempt me. :p