Saturday, May 12, 2007
Having only seen a few minutes of the original
28 Days Later, I have no significant complaints about its sequel,
28 Weeks Later. In fact, I loved the latter horror flick. With a heavy splattering of blood,
28 Weeks gives us some of the best political commentary in recent horror history. In the context of the Iraq war and the indefatigable rhetoric of the U.S. military "surge," director Juan Carlos Fresnadillo asks the question, Where does insurgency end? Apparently, it doesn't. The quarantined area of central London a full 28 weeks after the first "rage" attacks (where infected humans transform into animalistic blood-suckers within seconds) is, as it turns out, unsafe: one human is discovered to have an immunity, but subsequently transmits the virus to the genetically weaker others and hell breaks loose. As the film ends (spoiler alert) silhouettes of the escaped infected tear across the screen, the Eiffel Tower stands firm in the background. In other words, the insurgency, like the "rage" virus, is not contained and is likely to keep on spreading. It's a comment that predicts doom for modern politics and civilization, and therefore provides a moment of pause to consider the consequences of our current actions.
I also enjoyed the London scenery, a space and skyline of which I am indeed ignorant. (One flight into Heathrow is hardly a sightseeing tour.) This is the first movie that leaves me with a map of London and the greater area in my mind, much like the movies of New York and Los Angeles that leave viewers with architectural points of reference. It probably sounds silly, but the repeated aerial shots of London make me feel like I know the city better.
Hi, As the songs are already posted, this is the complete aata movie.
A few notes of interest about Brand Upon the Brain!, which I saw awhile ago now, but am eager to share nonetheless. First of all, the movie is not just a "movie,' it is an experience that combines live narration and sound effects, while watching an image that sputters to life with spontaneity. It captures the memories of "Guy Maddin" (he is the director, yes, but the story's protagonist as well) and reruns them with overt attention to their repetition. These are not flashbacks, but the story unfolding in disconnected retrospect. The film is about memory and functions like it; it is the process of taking us through Maddin’s recollection that gives it meaning. 
Britney Spears continued her "comeback" tour this weekend with a sold out show in Orlando on Saturday night. While the crowd chanted her name, Spears took the stage for the same 14-minute set she performed a few weeks ago in three California shows - though the popstar encountered a few technical glitches this time. The background track skipped, forcing Spears to improvise her lip-synching routine by turning her face away from the audience until the song got back on track. "I love you, Orlando," she told the crowd at the end of her set. "Thank you so much for being here. You're awesome. I love you!" Spears is scheduled for a second Florida show on Sunday night in Miami. Does anyone else wonder what the point of these 15-minute lip-synching sessions is?
Having only seen a few minutes of the original 28 Days Later, I have no significant complaints about its sequel, 28 Weeks Later. In fact, I loved the latter horror flick. With a heavy splattering of blood, 28 Weeks gives us some of the best political commentary in recent horror history. In the context of the Iraq war and the indefatigable rhetoric of the U.S. military "surge," director Juan Carlos Fresnadillo asks the question, Where does insurgency end? Apparently, it doesn't. The quarantined area of central London a full 28 weeks after the first "rage" attacks (where infected humans transform into animalistic blood-suckers within seconds) is, as it turns out, unsafe: one human is discovered to have an immunity, but subsequently transmits the virus to the genetically weaker others and hell breaks loose. As the film ends (spoiler alert) silhouettes of the escaped infected tear across the screen, the Eiffel Tower stands firm in the background. In other words, the insurgency, like the "rage" virus, is not contained and is likely to keep on spreading. It's a comment that predicts doom for modern politics and civilization, and therefore provides a moment of pause to consider the consequences of our current actions.
