Star kids don't like photogs either!

Jayden Spears' reaction to the paparazzi. If only Britney could use the Spiderman method as well...

A Visit to Shutter Island

“I can’t stomach the water,” says a seasick U.S. Marshall Teddy Daniels (Leonardo DiCaprio) to his partner, Chuck (Mark Ruffalo) on a boat to the infamous Shutter Island. A clever and ironic line in the opening sequence that one can’t help but interpret as a reference to Leo’s other water-heavy film—Titanic. But Shutter Island is not Titanic, and DiCaprio’s performance in the Martin Scorsese-directed film adaptation of Dennis Lehane’s novel, is delicately nuanced and highlights the actor’s growth in his craft.

Part psychological thriller, part historical fiction, with a sprinkling of fantasy/horror and romance, and a dash of detective flick, Shutter Island is an exercise in generic mixing that audiences are probably not used to seeing Scorsese direct. Set in 1950s Boston, the film follows Daniels as he and his partner come to Shutter Island, home of the Ashecliffe Hospital for the criminally insane, to solve a missing person’s case.

The plot of the movie is standard. Secrets lurk in every nook and cranny of the eerie psychiatric institution, and as mysteries are uncovered and covered again, the truth and reality become more obscured for both Daniels as well as the audience. Reveals escalate in intensity and culminate with the most dramatic and shocking moments of the film. While Shutter Island is incredibly formulaic, what is not is Scorsese’s direction and DiCaprio’s performance. We’ve seen other amazing Director/Actor pairs over the years: Mel Brooks and Gene Wilder, Alfred Hitchcock and Jimmy Stewart, Woody Allen and Diane Keaton, Quentin Tarantino and Uma Thurman, Tim Burton and Johnny Depp…and of course, Scorsese and Robert DeNiro. These collaborations are at their best when both director and actor are pushing each other towards artistic growth and achievement.

We see Scorsese and DiCaprio do just that in Shutter Island. The film requires Leo to be more vulnerable as a protagonist than he has ever been. More than that, it requires the spectator to completely identify with his plight both emotionally and physically. This is where the genius of Scorsese comes into play—from strategic camera angles and movements to the placement of sound, the island becomes a character itself. There are sequences in the film that are beautiful, both cinematically and in the development of the narrative because of DiCaprio’s acting and Scorsese’s use of the camera. A journey into the confines of the forbidden Ward C is made even more suspenseful by the flickering of a match…a light that keeps going in and out as Daniels speaks to a “prisoner” and begs for answers enveloped in the confines of the hospital—answers that are continually escaping his grasp.

Ultimately, audiences will hopefully appreciate the intricacies of the production itself in addition to the twists and turns that the film puts forth in its narrative. While the movie could have been a tad shorter (at a running time of nearly 2 ½ hours it is hard for even the most well-intentioned project to not bathe in exposition), the slow pacing of the film was a choice—for better or for worse. But what sold me on Shutter Island was the energy that clearly exuded on screen from both DiCaprio and Scorsese…a great partnership indeed!

My Top Films of the Decade

As a professed Film Girl, I had to have an obligatory post stating my top films of not the year, but the whole DECADE. It was a difficult task, mainly because I barely remember the last three movies I saw this year. But with the help of some late night chats with friends and some deep soul searching, I’ve compiled a list of films that may not be the best (though some are), but have influenced popular culture…and some just make me feel good. Comments are appreciated! And in no particular order, they are:

The Dark Knight (2008) – When it comes to superheroes, Batman probably wouldn’t be considered the best. But what makes him shine are his complex adversaries and Heath Ledger’s transformation into The Joker was nothing less than amazing. Complete with director Christopher Nolan’s intricate script and nuanced direction, the movie stands out as one of the best film projects of the decade.

Brokeback Mountain (2005) – “I wish I knew how to quit you.” And we still can’t get enough of the romance between Ennis and Jack that stood the test of time.

Mean Girls (2004) – The Clueless of the Millenium, thanks to one of the entertainers of the decade, the lovely Miss Tina Fey.

There Will Be Blood (2007) – Paul Thomas Anderson’s exploration into the life and mind of one oil man in the early 20^th century as he goes morally bankrupt should be considered one of the greatest American films of all time.

Little Miss Sunshine (2006) – The little film that could…sweet and simple, it captured hearts one Superfreak dance at a time.

Meet the Parents (2000) – Ben Stiller and his gang at their best. And without this movie, we wouldn’t have…

The 40 Year Old Virgin (2005) – If comedy of the early 2000s was controlled by the Frat Pack , the late years of the Millenium were all about Judd Apatow and his crew of merry men.

The Notebook (2004) – C’mon, who doesn’t love a romantic drama? I could have chosen Love Actually, but Nicholas Sparks’ tale of enduring love was made into a solid film thanks to a great emerging director (Nick Cassevetes) and actors (Ryan Gosling and Rachel McAdams). It made me swoon.

Mr. and Mrs. Smith (2005) – The movie was so-so, at best. But the electrifying chemistry between Brad Pitt and Angelina Jolie couldn’t be denied to audiences or Jennifer Aniston, apparently.

Memento (2000) – We may have had to watch it a few times, but Christopher Nolan’s exercise in the deconstruction of time through film is a memorable addition to the decade.

Final Destination (2000) – How many ways can you kill a person? Apparently the options are endless! In the first installment of the franchise, audiences waited with bated breath on how Death would end another person’s life. This movie’s interesting premise ushered in a whole slew of torture porn films that included Saw and Hostel.

WALL-E (2008) – Let’s face it, Pixar has never really had a misstep. And this decade (from Finding Nemo to The Incredibles) was no exception. But WALL-E ‘s story and execution go unrivaled in animated film.

Eternal Sunshine of the Spotless Mind (2004) – Quirkiness at its best that managed to explain love and heartache in a way that was palpable, thought-provoking, and genuine.

The Lord of the Rings/Harry Potter/Twilight – What happens when beloved book series turn into enormous film franchises? I think we know the answer.

Pirates of the Caribbean (2003) – Johnny Depp is back!

Moulin Rouge (2001) – All the excess and singing that a girl could ever want.

Shrek (2001) – This family flick deconstructed the fairytale in a way that was smart and funny to audiences of all ages.

Cloverfield (2008) – JJ Abrams’ monster movie may not have made a huge splash at the box office, but its advertising campaign made viral marketing the new face of promotion.

Madea’s Family Reunion (2006) – Don’t hate the player, hate the game. The Tyler Perry empire grew exponentially this decade when his church plays turned into high grossing theatrical releases. Though we might gremise at Perry’s stereotypical representation of African-American culture, a new audience of black filmgoers rushed into theaters to see Madea’s antics.

Kill Bill, Vol. I &II (2003,2004) – Quentin Tarantino is back!

The Ring (2002) – The first movie to be released in the American love affair with contemporary Japanese horror flicks. If we had forgotten after Poltergeist, The Ring reminded us of why we’re scared of little children and television sets.

Remember the Titans (2000) – Audiences suffered through multiple reincarnations of this movie, but none could replicate the racially charged/divided community/sports unites us all feel that Remember the Titans perfected.

Love and Basketball (2000) – Gina Prince Bythewood’s tender tale of post-soul black love is a narrative we don’t see often in theaters and this film is one of the best depictions of it.

Cast Away (2000) – Very few individuals can keep you captivated single-handedly for 2 ½ hours, with hardly any dialogue, and Tom Hanks did it effortlessly. Well…with a little help from Wilson too.

Honorable Mentions: Casino Royale (2006), Crouching Tiger, Hidden Dragon (2000), Children of Men (2006), Bridget Jones’s Diary (2001), Far From Heaven (2002), Precious (2009)

Another One Bites the Dust...

It's the end of an era for daytime television. The CBS program, As the World Turns, has officially been canceled after 54 years on air. The soap opera garnered many dedicated fans in the last five decades, but is another casualty in the waning spotlight of the television genre that once conquered daytime television viewership. Budget cuts and poor ratings have led to drastic changes in how soaps function. While some have been unable to weather the storm (Guiding Light aired its final episode in September), others have tried to adapt to the changing climate of the industry by altering production value, cutting cast members, decreasing pay, and even moving studios clear across the country, such as All My Children's move to Los Angeles from its original NYC home.

Still, the imminent question remains: Is the end of the soap opera genre near? In her seminal book, Reading the Romance, Janice Radway qualitatively analyzes the female audience of popular culture, and in particular, the romance novel. Many of her observations on the reception of this literary genre applies to the female viewership of soap operas. Yet, the continual decline in soap ratings is a prime indicator that women's relationship to daytime television is rapidly changing.

First, is the obvious: More women are joining the workforce. And while TiVo and DVR have replaced antiquated methods of recording television programs, and SoapNet has made it easy to watch your daytime soaps during the night, none of this makes up for the lack of interest or time in committing to a year-long serial drama. An older generation of female fans also may not be as technologically advanced to utilize these new methods of viewing, which include online streaming of the latest episodes.

Second: Less new female viewers. Soap operas are traditionally known for their intergenerational appeal. Communal watching existed between generations, from grandmother to mother to daughter. However, with the influx of teen soaps/dramas, such as Gossip Girl and reality television programming like The Hills, it could be inferred that young women are finding other, more "hip" ways to fulfill their melodramatic desires.

Third: Stilted program content. While soaps are advancing in their storylines to include more diversity, they are still far behind the gap in progressive narratives. The genre has a notoriously difficult time with sustaining change--for example, storylines that include gay characters are often introduced and quickly brushed aside for lack of innovation in content. In addition, the programs still have a hard time bringing people of color on board in consistent narratives.

Fourth: In general, daytime television programming is changing. With shows like The View blowing full steam ahead with their biting socio-cultural commentary shtick, it is difficult for soaps to remain relevant and entertaining in the contemporary (and dare I say, post-Obama) America. Perhaps a new format is needed to revitalize the genre.

Needless to say, it'll be interesting when Oprah leaves her position as daytime TV legend. Where will female audiences who remained so dedicated to daytime television for 50 years turn?

The Trouble with Tiger

In the aftermath of Tiger Woods' bizarre car accident and amidst reports of infidelity, the pro-golfer's star scandal is unlikely to disappear anytime soon. The barrage of media reports on Tiger's private life in less than a week is staggering, as Woods tries to navigate his new position as a tabloid staple.

In this short amount of time, Tiger has received criticism for his handling of the scandal, which has led me to wonder, what is effective celebrity crisis management? Is it silence, waiting for the media frenzy to hopefully run its course? Is it public confession of transgressive behavior...and through what medium--via tweet, PR rep, print or televised interview? Do you sit down with Oprah, Barbara, or Diane? Shed tears? Show any type of remorse or guilt? There are many options for atonement and celebrities have utilized them all, for better or for worse. Indeed, measuring the efficacy of the crisis management seems to correlate with the authenticity by which it is presented. Let's take a few examples:

1.) David Letterman
Letterman's admission of affairs with female employees on his late night talk show was the perfect atmosphere for the public to learn of his behavior because of its lighter tone. Audiences were able to identify with his narrative and thus, Letterman completely side swept any type of indictment to become simply, the victim of extortion and blackmail. The early bird catches the worm in this case...admit your deed before someone else does.

2.) Kanye West
I don't think Kanye could have predicted how huge the public fallout would be after he made a stink when angelic Taylor Swift won a MTV Video Music Award. His public apology on Jay Leno's new talk show was initially conventional until Leno shockingly reached for the jugular and prompted Kanye to speak on how his deceased mother would have reacted to his behavior. Regardless of whether West knew that Leno would ask him such a question, it clearly made an impact on him. Kanye's pause of the century made him sound sincere in his apology. I even felt kind of bad for the guy!



3.) Rihanna
Domestic abuse is always a tough crisis to maneuver publicly. As the media and public constructed her in both a positive and negative light due to her relationship with Chris Brown, Rihanna for the most part sat in silence as the gossip mill continued to run. Her public confession through a special interview with Diane Sawyer was both simple and straight-to-the point. While some criticized the timing of the interview--right before her new album's release--the conversation's candid and mature quality seemed to quell the thirst for more information on the story.

4.) Jon and Kate
Reality TV celebrities Jon and Kate have spent the last year in the thick of public scrutiny as their marriage, family, and television show, crumbled to a screeching halt upon accusations of Jon's infidelity. Both Jon and Kate's multiple confessions through multiple delivery channels (tabloid magazine exclusives, daytime television talk shows, and even their own TLC program) was ultimately too rehearsed and constructed for anyone to gain empathy for either party.

Now back to Tiger. In his second website posting, Woods comments that:

Although I am a well-known person and have made my career as a professional athlete, I have been dismayed to realize the full extent of what tabloid scrutiny really means.

It is interesting that Woods does not define himself in this context as a celebrity or even famous, but rather as a "well-known person." It is true that in his many years of international stardom, insights into his personal life have been generally benign, his image well-contained by both his minders and Tiger himself, who is known for privileging his privacy. One might ascertain that if we define contemporary celebrity by tabloid media image circulation, he never reached that level until the current debacle. Therefore, he literally doesn't know how to deal with such intense and invasive conversation about the rupture within his domestic life. What Tiger doesn't realize is that in the 21st century, celebrity gossip is not about morality. Though some may be indicting him under the guise of his departure from role-model status, this media circus is really about entertainment. In many ways, the shattering of Tiger's empire was a ticking time bomb waiting to explode. The tabloid frenzy about his adultery is less about the actual act and more about unearthing some semblance of the "truth" of Tiger, something that has escaped the public since his foray into superstardom. So don't take it personal, Tiger. What really matters is how well you play the game. In the end, it's all a performance. And we are all waiting for the final act!

For Your Entertainment

Last Sunday at the American Music Awards, America got a taste of the "real" Adam Lambert, uninhibited, confident, and ready to shock audiences with his sexually charged performance. Everything about the performance was constructed... complete with its placement at the end of the show, and CBS' feigned lack of knowledge about the content of the piece when faced with many audience complaints in the aftermath. Lambert was also clearly in on the joke--his new single, "For Your Entertainment," can be seen as a self-reflexive, tongue-in-cheek commentary on his visibility in the public sphere as spectacle. And his performance provided plenty of spectacle. With pole dancers, men on leashes, simulations of oral sex, and a male/male kiss, Lambert sauntered across the stage completely owning it all. Was it excessive? Yes. Was it exhibitionist? Clearly. But since when has entertainment ever not been preoccupied with spectacle, especially of a sexual nature?

Don't we all remember Britney's striptease? Madonna's unholy writhing on the floor with a wedding dress? Janet's breast? All examples of women who have utilized their (hetero)sexuality to create controversy. Lambert's performance was no different from these overt displays of sexuality, except in its queering of conventions. His (homo)sexual behavior on the public stage becomes, well, freakish. The hyper-visibility of his queer desire is in contestation with the public's desire to see a very heteronormative display of sexuality. So why is the general public still so unnverved by gay male performers that break convention? I've observed that in the music industry, this attitude is incredibly pervasive. Not since Ricky Martin has a male musical artist received so much attention based on his questionable sexuality. It seems that not winning American Idol was the best thing that could have happened to Adam Lambert. Unlike his counterpart Kris Allen, he can fully explore his aesthetic without the strict regime that AI status brings with it.

Precious

My roommate and I went to see Precious, which is now in limited release across the country. The theater was packed with brown folk, which excited me because this is a film that everyone should see and support.

Precious is based on the novel, Push, by poet and singer Sapphire. It explores the interiority of an illiterate black teen, Claireece “Precious” Jones, who goes through just about every imaginable hardship one could imagine. Verbally and physically abused by her mother and raped by her father (who in turn fathers her own two children), Precious enrolls in alternative school and begins to find self-worth despite her circumstances. The film is directed and produced by Lee Daniels, of Monster’s Ball and The Woodsman (one of my favorite films) fame. All of his films examine subjects on the fringes of society through themes of love, struggle, and ultimately redemption.

Paula Patton was completely believable as a teacher who takes Precious and her classmates under her wing. Her understated performance was a breath of fresh air amidst superficial portrayals of the Educator who Saves the Children character type. Mariah Carey’s role as a social worker was brilliant in its subtlety and Lenny Kravitz also held his own with a bit part as a male nurse. Mo’Nique completely transformed for her role as Precious’ mother and her sheer intensity on screen is something to be reckoned with (ahem, Oscar nod!), and the entire movie is held up by the charisma that newcomer Gabourey 'Gabby' Sidibe’s brings to such a heavy movie.

Watching Precious was a very visceral experience for me and the harsh realties of Precious’ existence juxtaposed with interstitial imaginative fantasy sequences that displayed her hopes and dreams were a clever device to use in a film that would be completely devoid of lightness without them. I most enjoyed the school scenes with Precious and her classmates, which provided a necessary change of pace from the largely pejorative tone of the film.

The film achieved gritty realism through its unwillingness to sugarcoat the very authentic experience of a young black girl’s struggle with her identity. I don’t think I’ve seen a movie about the “black experience” that has done this so successfully since John Singleton’s Boyz in the Hood. I recommend everyone see it and hopefully it will be receiving much Academy Award buzz in the coming weeks!