Thinking Out Loud

By Warren Curry

Nothing screams cop-out quite like a “random thoughts” article, does it? Well, here’s my foray into that shallow (well, not in all cases; maybe just this one) form of writing geared specifically toward you, the short-attention span generation. With any luck something substantive will emerge and, yes, dear CinemaSpeak readers (i.e. Memo’s friends) prepare yourself for “Thinking Out Loud,” which won’t be limited to just the topic of movies, to be a semi-regular column. Other semi-regular columns I have in mind are “Netflix Diary” and an as-of-yet unnamed blog that will deliver capsule reviews of movies that are, or will soon be, playing at a theater near you.

To give you something of a preview of the latter, let me jump right into it…blindfolded…with both arms tied behind my back:

* Did you know Canadian actress Sarah Polley (”The Sweet Hereafter,” “Go,” “Dawn of the Dead”) is also a filmmaker? She has a few shorts under her belt, and her feature debut, “Away From Her,” is slated for release tomorrow (May 4) in New York and Los Angeles. It’s the first film I’ve seen this year that already has a spot reserved on my 2007 Top 10 list, but it promises to be a tough sell considering:

1.) The film is about a couple in their 60s whose marriage is tested due to the wife (played by the still stunning Julie Christie) suffering from Alzheimer’s disease;

2.) Its biggest name actor (that would be Polley) never steps in front of the camera;

3.) Its pacing could best be described as deliberate (but determined!).

Yet anyone who loves rich entertainment that relishes the depth of emotional content, even if that means the occasional slow going, will embrace this film. Here’s to hoping the almost criminally talented Polley will be able to strike a nice balance in her career between directing and acting.

* Another worthwhile new release, also written and directed by an actress, is the late Adrienne Shelly’s “Waitress.” Though it’s not as emotionally satisfying/complex as “Away From Her,” “Waitress” is an enjoyable, accessible movie that only the most cynical could really dislike. I don’t know how this film won’t be overshadowed by the story of the bizarre, horrific murder of its director last fall, but “Waitress” clearly doesn’t need one’s sympathy to be appreciated. You can read my full review HERE. For information about special Mother’s Day screenings of the film visit: www.MOVIEwithMOM.com.

* Note to ESPN: Those people who annually attend the NFL draft wearing their favorite team’s jerseys aren’t just diehard football fans — they’re also complete idiots. Stop encouraging them.

* Inspired by Memo’s most recent blog, I finally got around to seeing “Grindhouse” last weekend. Mr. Salazar and I disagree (at least somewhat) about this one. My reaction fell in line with my previous opinions of the directors: I couldn’t stand Robert Rodriguez’s “Planet Terror” and loved every word of silly chatter and frame of ass-kicking action in Quentin Tarantino’s “Death Proof.” I won’t claim to be an expert on ’70s Grindhouse cinema, but I don’t think either of these films could be mistaken for the genuine article. Rodriguez is so obviously a child of ’80s action flicks that his “slumming” screams Hollywood poser, right down to the movie’s last digitally manipulated scratch. All that blood, violence and action, and yet it’s still so insufferably boring. But if his trailer for “Machete” is ever turned into a feature (which, I believe, is the plan), count me in! Yes, “Death Proof” is filled with talk, talk and even more talk, but the flapping gums didn’t bother me. In fact, listening to QT’s collection of ladies chat away about whatever (and often times “whatever” would be the perfect description of their conversations) entertained me infinitely more than any moment in “Planet Terror.” And the action is better than anything QT’s ever done, completely blowing “Kill Bill” out of the water, probably because it’s not as elaborate. But is “Death Proof” really a Grindhouse movie? Despite the inanity of his dialogue (and I don’t actually mean that as a slight), Tarantino is simply too good a filmmaker to make easy to discard schlock. “Death Proof” is a simple tale of revenge, but translated through the eye of a filmmaker schooled in the serious American cinema of the ’70s (who also, annoyingly, loves to reference his past work). At the same time, it doesn’t feel as if QT is taking this material nearly as seriously as he did in “Kill Bill,” and the movie’s all the better for it. Rosario Dawson and friends turning Kurt Russell into a human punching bag is one of this year’s movie highlights.

* Can we now call Season 3 of “The Office,” maybe not a disaster, but a genuine disappointment? The jokes are weaker, the old characters are growing tired (does Ryan still serve a purpose?), the new ones have yet to be developed in an interesting way (that would be Karen), and if even my wife doesn’t find the Pam/Jim thing cute anymore, then you really have problems. Every week I tune in, hoping for the episode that will right this season’s ship, but it has yet to air. At least the Michael/Toby dynamic still makes me laugh.

* The demise of “The Office” has elevated “Entourage” to the much revered status of “Warren’s favorite television series.” But I’m starting to worry about this young season, too. The writers seem somewhat unsure about Ari’s direction, and I don’t like what they’re doing with the relationship between Vince and his new agent, Amanda, which feels entirely forced. Given that “The Office” and “Entourage” are the only weekly episodic television series I watch — aside from “Best Week Ever” (a truly guilty pleasure) and “Real Time with Bill Maher” — it might be time to enlist backups. I had sort of high expectations for MTV’s “Human Giant,” but the only episode I’ve caught missed as often as it hit.

* “Napoleon Dynamite” has to be the most controversial movie Ken Loach never directed.