340 meters per second

Trust only movement. Life happens at the level of events, not of words. Trust movement.

&mdash Alfred Adler (1870-1937)

Wednesday, August 29, 2007

I love you, can I eat your guitar?

I think most Canadians over the age of say, 25 or so probably remember this PSA from the early '90s. For some reason the jingle recently surfaced in my memory and after looking it up on YouTube, I showed it to B. I don't think "obsessed" is to strong a descriptor to attach to her subsequent behaviour: we probably watched it a hundred times in the first week and even now she likes to watch it a couple of times a day.

For your amusement and edification:

Tuesday, August 28, 2007

This shit is bananas.

Criticizing hypersexual commercials for fashion and/or beauty products seems both quaint and quixotic: the entire marketing endeavour is premised on titillation and endorphin production by proxy... but come on.

Really, Gwen? Really?

"I Want You All Over Me" &mdash indeed.

Monday, August 27, 2007

Non est disputandum

Fugazi and All Saints; lentils and hard maple candy; Terry Brooks and C.S. Lewis... quality and appeal share an ambiguous relationship. In other words, one often says, "[product A] is of a superior quality to [product B] and yet &mdash while I enjoy consuming [product A] &mdash I prefer [product B]."

To wit:

The Good Shepherd feels like a particularly well-written textbook: weaving a complex narrative from strands of history, political theory, economics and dramaturgy, the film presents a detailed, nuanced account of the CIA's inception. It's also unevenly-paced, dry as chalk and a bit unsure of its thesis.

Directed by Robert De Niro, the film chronicles the birth of the CIA in the wake of World War II and the emergence of what would come to be dubbed the Cold War. De Niro is clearly trying to create a psychological landscape of epic scale, to match the vast cultural and philosophical implications of counterintelligence work. Comparisons to The Godfather were inevitable and to a certain degree warranted, but there's an arid, ascetic quality to this movie which inhibits the complete identification required for the objective correlative loop to close. Nevertheless, this remains a compelling, intricately crafted film capable of sustaining multiple viewings.

* * *

Shooter is predictable, self-important and a waste of some genuine talent... and yet I enjoyed it quite a bit.

Mark Wahlberg's natural charisma drew me into the paradoxically claustrophobic world of the scout sniper: alone in broad expanses of wilderness and forced by necessity and circumstance to confine their perceptions to a pinhole of light, a single trajectory and a destination roughly the size of a golf ball. Although I'd seen it all before &mdash the First Blood parallels were particularly striking &mdash I was interested and engaged by this movie (almost against my better judgment).