Rob Epstein & Jeffrey Friedman’s film Howl (2010) is based on the poet Allen Ginsberg, his poem Howl and the obscenity trial that threatened its publication. I was expecting something more akin to a court room drama but the movie offered more than this and in an unusual style. It weaves together several different threads that establish a story about the nature of Ginsberg (James Franco). Disjointed, though not necessarily in a bad way, it traverses fictional interviews with Ginsberg, segments from his life, the unfolding court case, a poetry reading and animated sequences representative of the poem.

Though the animation sequences are incredible and do fall in line with the content of Ginsberg’s work, I couldn’t help but feel that the filmmakers were compelled to make poetry exciting. This may not have been their intention, but it is most apparent when the music picks up near the end of Howl. I often aim to value an adaptation for it’s own merits (a movie is not the book, etc.) but this is a rare occasion where the film stands to represent the work strongly – the poem is read out throughout the film. And though both the music and animation were well suited to the poem, these embellishments seemed to subtract from the reading rather than add to it.

The casting too, has left me with mixed feelings. Individually it is great casting, and I loved seeing Jon Hamm defend the work of Allen Ginsberg, the publishing industry, freedom of speech and America in general. But Jon Hamm opposite David Strathairn creates too clear of a dichotomy. It’s the most handsome man imaginable – he’s on our side, against a doddering old man who wants to punish Ginsberg. Terrific performances from both men really made this convincing, but while it was enjoyable it was also a little too close to the surface. Though smaller roles, both Jeff Daniels and Bob Balaban were great, and a pleasure to watch. Franco, as expected, was utterly commendable as Ginsberg and worth watching the film for. Howl’s merit lies in doing something different from the usual biopic film. Especially worth seeing if you would like to learn a little about Ginsberg, Howl and the trial.

***Minor Spoiler Alert***

Predators is worth it’s money in thrills. Despite already feeling a little jaded by the trailer, I still managed to reach the edge of my seat by the end. Thrilling as it may be, it is a Hollywood action movie through and through, no more, no less (despite skipping out on the Hollywood action star). It hits that sweet spot right in the middle where you can enjoy the gun fights, and still laugh when the power chords hit and the dialogue starts to reach parody. The characters and story are the bare, and I do mean bare, minimum to keep the action from falling apart but are still slightly more interesting than an unabashed cliche. The third-in-a-series and years-too-late film, it is still shot well and sounds fun. But, I haven’t covered the really strange thing yet. . . In a bid to secure the MTV Movie Award for most left-field casting, Adian Brody was cast as a tough guy mercenary who don’t/won’t give a damn about other people. Unconvincing at first, his Bale impression only highlighted how uncomfortable he was holding a big gun. Fortunately, by the end I am close enough to sold on Brody as a tough guy. Probably the part where he ditches his shirt and attacks a predator with an axe. . .

P.S. After seeing the movie, it turns out that I really appreciate the trailer.

A familiar shudder passed through me when I first heard of the Ice Road Truckers feature film. Thinking about it again, I decided that it mightn’t be quite be so bad. A feature film based on some tough guys in a tough place. Modern pioneers. Taken in the right direction, this could be a rather enjoyable film. High paced and action packed. The kinda film that’s forgiven for not having “a real story”. Mixing tremendous feats of man over ice and man over machine. Two stroke diesel meets The Fast and The Furious. Despite the potential for trucker on trucker combat, nature is man’s true enemy and the ultimate climax is man fighting a polar bear, Hopkins Style.

Money see money do. The rip roaring success of Ice Road Truckers will inevitability attempt to repeat itself be it in the form of a sequel, spin off or the rapid expansion of the successful movie’s subgenre (not to mention remakes, TV shows, video games or breakfast treats). It’s a natural progression that once we’ve cracked one reality TV to feature film crossover that more will follow. And The Deadliest Catch will be hot on the heels of Ice Road Truckers. The all-too-obvious route would be to mimic Jaws. But to break away from the disappointing field of Jaws rip-offs The Deadliest Catch needs a spin. Pirates. (Jobsian Pause) And if we’re not empathetic enough about the deadliest catch crew we’ve also got a cruise ship, TV’s The Love Boat. Children, couples, swingers and a preacher are gonna be at risk. Plus you just know that Isaac Washington is gonna cut loose and kick some pirate ass any minute now. I think the shark must be spared, not only for the sequel, but because defeating a wild creature is always a somewhat stunted victory. The shark eating the pirates though, that will smack of success. As the shark and the deadliest catchers part ways they are left with a mutual respect for each other. Cut print perfect.

Wife Swap can work too, but only with the right casting. My choice is Owen Wilson versus John Cryer. These actors set the scene: Cryer as the uptight, neurotic worry-wort and Wilson as the zany class clown who never grew up. But this movie is really going to be made by the wives. Cryer’s wife will require the talents of Sarah Silverman. She’ll start as domineering, in a similar vein to her School of Rock character, but when push comes to shove with Owen Wilson’s zaniness she’ll transform and surprise us like a high school prom movie. Wilson’s wife, played by Kristin Chenoweth will need to be flirty, but chaste, still slowly wearing away at Jon Cryer as the movie goes on. Only Chenoweth can nail all this while retaining an ernest element of sweetness. I’m not really sure where this film is going, but it is most certainly a romp. And that’s whats important.

The final shot from an evening spent photographing friends just before they left for the States.