Double Dakota Feature: Trapped (2002) & Nine Lives (2005)

Kevin Bacon stars in Trapped as a man with a plan - the perfect kidnapping. But of course something goes wrong - otherwise there wouldn't be much of a movie. Dakota Fanning plays the scared little girl who gets kidnapped, a couple years before her similar role in Man On Fire. Comparisons between these two titles are inevitable. I liked Man On Fire better; its story had more pathos. And Dakota was more memorable, having more time to develop her character, with less focus on being the terrified victim. But Trapped isn't bad. It's less about the grief that ensues after a kidnapping, and more about the protracted struggle between good guy and bad guy as the plan gradually plays out. In that sense, it's a bit more contrived, but for the sake of crafting an entertaining plot, I presume. It all builds up to an exciting climax that involves more carnage than may be reasonable, but just as much as an audience could hope for.

Nine Lives is a different kind of a film. I would describe it as a reflecting pool, wherein you gaze as you contemplate your struggles in life. It features nine loosely-related stories about nine different women, and the struggles they have to go through. For example, one woman is separated from her daughter while in prison; another woman faces up to her abusive childhood; another deals with her anxiety directly preceding a mastectomy. They are all very human stories, and largely depressing. But that is life, and if there's a lesson to be gleaned, it's not a convenient or patronizing one.

Initially, as the film played out before me, I thought to myself, okay, these stories are going to weave together in some way and head towards a conclusion - but it's not entirely that straightforward. You don't really get a whole lot in the way of closure. But then, it seems to me that the point of this film is not about the specific details of the characters' lives, but rather the overarching themes - the kinds of themes we experience ourselves in life. Sacrifices we make, the importance of family, losses we suffer, the need to overcome grief...

It's not a very happy story, but if you can get into it, it's really well crafted. I read that each of the nine individual chapters was filmed in a single shot; which is entirely believable, because I recall lots of panning in lieu of cutting from one scene to another. It's really remarkable thinking back on each of those scenes, considering the distances covered in some of them. And it gives the film a really unique and compelling style. It's also fun to look for the superficial connections (in addition to the deeper thematic connections) between the segments - characters featured in one segment that might show up elsewhere on the side.

All of the actors put in a good performance. Dakota's role was relatively short, in the final segment, but nevertheless unforgettable. She was a veritable ray of sunshine, even in spite of the cemetery setting. I would have liked the entire length of the movie to have featured her, but well, that wouldn't have suited the story. Ah well. I guess this feeling suits the nature of her role, after all. This really is a beautiful film, though that's coming from someone who thinks suffering (of the psychological variety) is a fascinating thing.

The Descent: Part 2 (2009)

I had the good fortune of seeing The Descent several years ago during one of my periods of going to see horror movies in the theater. It was one of the best movies I saw that year. When Part 2 came out, I pretty much ignored it, figuring that it was more or less a cheap cash-in sequel. But the perfect opportunity just came up, so I sat down and gave it a watch.

The Descent: Part 2 requires suspension of disbelief on a number of issues, and there's a lot of light in that cave for it being underground, but there are also some good moments that make the journey worth it. There are some predictable plot elements, but also some exciting surprises, so in spite of being derivative of the first movie, I'd say it's still worth seeing. It's not as good as the first, but if you liked The Descent, you will no doubt enjoy watching Part 2.

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