Monday, May 31, 2010

Guillermo Del Toro Won't Direct The Hobbit

More bad news on the production set of The Hobbit. After months of funding problems and shooting delays and casting issues, Guillermo Del Toro, has announced that he is leaving the series and will not be directing the two movies.

The Mexican director, who has been in heavy development and prep for the Lord of the Rings prequel for the past couple of years, announced the news in a joint statement with producer Peter Jackson.
“In light of ongoing delays in the setting of a start date for filming “The Hobbit,” I am faced with the hardest decision of my life”, says del Toro. “After nearly two years of living, breathing and designing a world as rich as Tolkien’s Middle Earth, I must, with great regret, take leave from helming these wonderful pictures. I remain grateful to Peter, Fran and Philippa Boyens, New Line and Warner Brothers and to all my crew in New Zealand. I’ve been privileged to work in one of the greatest countries on earth with some of the best people ever in our craft and my life will be forever changed. The blessings have been plenty, but the mounting pressures of conflicting schedules have overwhelmed the time slot originally allocated for the project. Both as a co-writer and as a director, I wish the production nothing but the very best of luck and I will be first in line to see the finished product. I remain an ally to it and its makers, present and future, and fully support a smooth transition to a new director”.
Source: Empire Movies

May, A Look Back: How Was It?

I'm not usually in the habit of recapping months, but May seemed like it needed its own post.It easily takes the prize for the most hectic month this year (thus far). It came and went in a blur and yet I feel like it lasted forever, moreover I still feel like I’ve been hit by a hurricane. The end of May signals three things – final exams (ugh), heating up with the release of “prestige flicks” (The Kid Are All Right – I cannot, Inception - Marion and Leo, yum) and my birthday (in six days – sigh, getting older). Movie wise, May has been fairly good. I mean, Nanny McPhee was an all around delight and much more satisfying than the other sequel that was getting all the buzz. I’m still split on Chloe and Fish Tank (confused about both, though the latter is “better” - a word I use looesley) and How To Train Your Dragon was enjoyable – though I sincerely hope that this isn’t the best animated film we’ll be getting this year.
Of course, May had to end with a scorcher – the controversial release of Sex & the City . I’m really nonplussed about the controversy. I don’t particularly worship Ebert so I’m not wholly distressed by his rantings – it’s been done before. But I’m not sure why so many found it to be so offensive. To each his own I suppose, but Jose's word are quite sage.
             
Blogging wise: the nominees for the LAMMY’s have been announced. Congrats to all the nominees – especially those I voted for (Movies Kick Ass, M. Carter at the Movies, Movie Mobsters, Anomalous Material - Movies, A Life in Equinox, The Dark of the Matinee, Ross v Ross, He Shot Cyrus, Reel Whore) and a shoutout to all the great blogs (especially those I voted for) that weren’t nominated (Journalistic Skepticism, The Kid in the Front Row, The Floating Red Couch, The M0vie Blog, Four of Them).
               
I've been so loopy LAMB Casting is only now in its voting stages. I hope you've cast your votes.
        
I’m not particularly looking forward to what June brings, but I sure am glad to be done with May. Here’s to hoping June is a little more…peaceful.
          
How was your May? Looking forward to June?

Strangely, this month was so hectic and yet I've meted out 56 posts. Strange.

Music Break [...With A Couple of Lifeguards]



Good God, this brings back some memories. Doesn't it make you nostalgic?

Sunday, May 30, 2010

The Human Centipede (First Sequence): Review

......... Wow. The Human Centipede. Take this title very literally. And if you know what's good for your soul. Do not watch this movie.
But I'm not saying this because the film was bad. Far from it. The Human Centipede is by far one of the most original, soul provoking, groundbreaking horror films I have seen in a long time. The film came out last year and by word of mouth from fellow movie reviewers,  have been searching all over for this film. And let me tell you, it completely blew my mind.
The Human Centipede is about two American tourists who are captured by Doctor Heiter, a renowned German surgeon who has this sick fantasy to create a human centipede by joining the digestive tracts of three human beings via the mouth and anus to create a living human centipede. So how it works is that the first person eats and then he'll shit into the mouth of the person behind him and then that person will shit into the mouth of the one behind her and then that person will shit all their shit out. Ugghh.
My God where do I even begin to talk about this movie.. It's just different, you know. The Human Centipede is going to gain the same notoriety as The Blair Witch Project because of the level of human cruelty and psychological hell it puts it's audience through. But don't think that this was a really bloody, disgusting gore movie. Matter of fact, there's barely any blood in this. And yet the movie still sent chills down my spine just thinking about these people and the things they are going through as the human centipede.
There is one scene.. one goddamn scene, where the head of the centipede has to shit, and he begins defecating into the mouth of the girl behind him whose attached to his anus. And the girl is all like, trying to scream and the guy is like, "I'm sorry! I'm sorry!" And Doctor Heiter is just going, "Yes... feed her! Feed her!"
But as I was saying, we weren't shown any of these scenes literally. The film finds a nice middle ground with the disgusting scenes and bloody gore and chooses to let the audience's mind fuck with them. I have heard stories that most people walked out of the cinema when the film was playing. And to be honest, i don't fucking blame them.
Dieter Laser is spine chilling as Doctor Heiter.  mean, this man is just so bloody cruel and messed up inside... Jesus Christ man. There is a scene where he is explaining to the three people how he is going to perform the operation to make the human centipede, and it will just make your skin crawl. The three actors of the human centipede are great to. Their mostly whimpering and crying throughout the film, which was great cause it made it harder for me to watch them. I particularly like Akihiro Kitamura who's the head of the human centipede, who has a really great monologue towards the end of the film.
If you think your stomach and nerves can handle this movie. Message me and I'll give you a copy of the film. I fucking dare you.Just be prepare for the mind fuck of your life.

RATING: 7/10

The Musical Blog-a-thon

I invited my fellow bloggers to participate in blog-a-thon dedicated to celebrating musicals. They were asked to write on any musical - preferably their favourite - and tell us why it's worth our time. At first I was thinking asking for a favourite would become repetitive with everyone choosing standards, but the posts ae in and the choices are diverse. Head on over to the sites and take a looksee, every post is worth your time so head on over and read them, I did. They may not all have written on their aboslute favourite, but it's obvious - all the musicals covered are well loved.
         
Jose on The Wizard of Oz (1939) from Movies Kick Ass
The minute she arrives, her view of life is transformed because she has achieved color. Her simple jumper now in pale blue becomes a symbol of serenity and achievement.Did you know that the color blue is meant to symbolize high ideals? With this simple color choice we determine that the filmmakers are placing an importance in the way Dorothy looks, in her expression through what she wears.
          
Ruben on The Wizard of Oz (1939) from My Floating Red Couch
And speaking of flying monkey attacks: when the Simeon minions swarm and attack our heroes in the haunted forest, they totally get after it. They're all pouncy and rippy and flyey and kidnappy -- they take out some of the scarecrow and throw him over there and take out some more and throw it over there. Just very violent and graphic -- if you're made out of straw, but still.
            

Crazy Cris on Summer Stock (1950) from Here and There and Everywhere
As usual what sells the show is the chemistry of the leads, and the music. Some musicals annoy me when the music isn't quite "right", when it pulls you out of the story for a 'tah-dah!' musical moment. But here the numbers all pretty much worked seamlessly within the tale, starting off with a song I need to adopt as my own "If you feel like singing, sing!". Judy sings this as she goes through her morning rituals (shower, dress etc.) and it's just such a wonderful moment that I'm sure many people can relate to, when you just feel like singing and to hell with anyone who might have a different opinion!
           

Chase on Singin’ in the Rain (1952) from The Ludovico Technique: A Film Blog
The perfect confluence of song, dance, sugar-spiked romance and Hollywood satire, the film is one of those rare Hollywood musicals without a flaccid note, number or scene in sight, utilizing its well-rounded cast and catchy verses to win us over time and time again.
                

Bryce Wilson on A Star is Born (1954) from Things That Don't Suck
Cukor was of course one of the most skilled comedy directors of the forties, which in turn makes him one of the most skilled of all time. And he’s able to keep the film from becoming a slog, putting in some deft comic scenes that never feel out of place, including one nice sequence that turns a killer running gag out of the simple phrase, “Glad to have you with us.”
             
Fritz on West Side Story (1961) from Fritz and the Oscars
West Side Story is a movie that achieves the impossible – to bring the aliveness and thrill and feelings of the stage production to the screen. Isn’t it thrilling to sit an audience and watch dancers do the dance at the gym right in front of your eyes, on a stage where you can see the brilliant movements so closely?
                 

Yojimbo on A Hard Day’s Night (1964) from Let's Not Talk About Movies
That's pretty ironic, as the four's own bickering is what led the group to self-destruct and go their own ways once they were no longer forced to go together in the same direction by their hectic tour schedule. The only real idyll they have in "A Hard Day's Night" is in the antic "Can't Buy Me Love" sequence, where, in a rare moment of freedom, they caper about a play-field, which Lester films in an eclectic helter-skelter array of techniques, formal and informal: sped-up, slowed down, from the air, and hand-held.** Even that ends with an admonition ("I suppose you know this is private property!").
              
Ben on My Fair Lady (1964) from Runs Like A Gay
With musical theatre the score must either be so good that the listener appreciates the quality of the writing (see just about anything by Sondheim), or you need to leave the auditorium toe tapping away (try anything by Andrew Lloyd Webber). I won't pretend the music in My Fair is particularly well written, but by God it does make you want to join in.
              

Simon on Pierrot le fou (1965) from Four Of Them
Fantastic, mesmerizing (despite, as I assume ya'll know, shitty subtitles), surreal, colorful in that way only Godard in a good mood and the sixties can produce. Aided by the fanciful performance of Anna Karina and the half-lovestruck, half-bemused Jean-Paul Belmondo, an unexpectedly catchy song is performed by the two, that might've been an in-character way to pass celluloid had not been for the burst of music the background.
              
Marcy on Fiddler on the Roof (1971) from Because I Saw The Film
The film is ultimately about love. The love between a father and his daughter. The love between a husband and his wife. The love between two young lovers. The love between a man and God--and that's touching, whether you believe in God or not. There is just something so pure and simple about the musical's message about love, and it's a shame that modern films seem to over stuff the love message with a glow of shallow boxes of chocolates and bouquets of roses.

Andrew on Cabaret (1972) from Encore's World of Film & TV
I suppose Cabaret is not so much a story about what happens as it is a story about how it happens. Fosse has always has his reputation for being an especially stylistic man, and Cabaret represents the zenith of his talents. For, in many ways, Cabaret is a bit like an allegory. We’re transported by the bawdy music and scintillating dances so that by the time tragedy is at hand we’re surprised, even though it’s been sneaking up on us for the entire film.
            
Alex on Victor/Victoria (1982) from Alex in Movieland
The screenplay is the highlight, without a doubt one of the best ever written. Yes, I stand by it: so many excellent one-liners, the dialogue is fabulous and funny and the story just makes sense all around. It is Blake Edwards’ greatest achievement and one of Julie’s Andrews best performances.
            

elgringo on Krush Groove (1985) from He Shot Cyrus
The real fun of Krush Groove is in the performances. About half of the film is scenes of rappers and singers performing either on stage for an audience or just out in public with a mix of diegetic and non-diegetic music. In one scene, The Fat Boys sing their song "All You Can Eat" while scarfing down pizza at a Sabarro. It might sound like a Weird Al music video but this is what hip-hop was like in the mid-80s.
                    
Darren on The Lion King (1994) from The M0vie Blog
Still, “Be Prepared” is a powerful little number. Not only is Jeremy Irons freakin’ amazing delivering his lines (“And soon I’ll be givin’ my due!”), but it’s also been suggested that Jim Cumming may have filled in for him when he got a throat ache (and wasn’t able to finish the song). in under three minutes, with a hauntingly demented yet charismatic voice, and iconography borrowed from source I was too young to understand at the time, the musical number managed to do what no amount of ranting or raving or threatening from any Disney villain before or since could do: it convinced me that Scar was irredeemably evil. Sure, he’d go on to throw his brother into a herd of stampeding wilderbeast and (in an act even more evil) convince his nephew Simba that he was responsible, but this musical number was the first hint that something was truly and deeply wrong with the cartoon lion.
              
CS on Everyone Says I Love You (1996) from Big Thoughts From A Small Mind
The themes of looking for love, being in love, and being in relationships with the wrong people, are common in almost every single Woody Allen film. Yet there is a more optimistic, and whimsical, feel in this particular film than is more prominent than his other works. Everyone from the upper east side elite to the two-bit gangster is struck by cupid’s arrow.

Walter on Everyone Says I Love You (1996) from The Silver Screening Room
The idea here is that normal, everyday people, not given the gift of Garland, can become so full of emotion and romance that they are compelled to sing despite their own limitations. It's a beautiful and dangerous idea, yet Woody is blessed with actors who can actually carry a tune for the most part.
                 
Jude on Moulin Rouge (2001) from And All That Film
Even as Ewan and Nicole spin high up in the clouds, they make sure that the message doesn't get lost in the crazy, over-produced (in a good way) musical number. It also helps that Ewan's voice has that sensual, masculine touch of rogue-ness and the face of a Shakespearean paramour. He's the spark that ignites Nicole's flame (there's a metaphor of worth in there somewhere... look harder!).
    
Clarabela on Chicago (2002) from Just Chick Flicks
It wouldn’t be a really good musical, without THE BIG FINISH or a big musical number to get your toes tapping. Chicago won’t disappoint you. After much tap dancing and legal maneuvering, Bill Flynn (Gere) helps both Roxie and Velma beat their murder charges. Unfortunately for Roxie, her trial’s publicity doesn’t bring closer to her dreams of stardom. It is as true in Jazz Age Chicago as it is today: People are always looking for the next big thing.
               
Twister on Chicago (2002) from Movie Mania
Among the songs in the film my favorite is Roxie, sung by Renee Zellweger who is just perfect as the jazzy baby turned murderess who comes to start enjoying her infamy. Much of Chicago's success is thanks to Zellweger who carries the film with her funny, sexy, and all around luminous performance. It's her understanding of the character and her vocal/dancing abilities that make everything work.
                 
Meagan on The Phantom of the Opera (2004) from Wild Celtic
I will forever hope that the Phantom is able to be with Christine. My whole life, since I first saw the play, I would listen to those songs, feel his pain, hear Christine's longing for him and would be moved to tears by the music, the story. It is about passion, music, love, fear, anger, rejection, lust and mystery. In my minds eye, Christine always chooses to stay with the Phantom, to love him and sing with him...to be his angel of music.
               
Anna on Sweeney Todd: The Demon Barber of Fleet Street (2005) from Life of A Cinephile and Bibliophile
Most musicals are bright and colorful, I prefer dark and moody. So Sweeney Todd works on that level for me. And since it's directed by one of my favorite directors and features one of my favorite actors, that also works.
             
Joe on Rent (2005) from Oscarfan
The film is really entertaining and I think it works, although the "bursting out into song isn't realistic" thing sometimes becomes too noticeable and sometimes it lacks the soul of the original production. But the music is flawless. There are so many great songs and so many that I love!
                
Robert on Hairspray (2007) from His Eyes Were Watching Movies
The great music, dancing, and acting aside (and I didn't even mention the fabulous costumes and art direction!), Hairspray is the "perfect musical" because of the feeling that you get during and after you watch it. I saw the film three times in the theater (the most I've ever gone to one movie in the theater, by the way), and at least 3 times on DVD, and every time I just feel so happy and uplifted.
                   
Mike on Hairspray (2007) from You Talking to Me
By taking this story of a chubby girl chasing her dreams out of the John Waters universe and brushing aside inside jokes and obscure cultural references, the message is as simple and touching as ever: Never give up hope; dreams are not selective and anyone with the courage to reach for them has the tools to catch one.
                  

Univarn on the Genre in General from A Life in Equinox: A Movie Lover's Journal
 Their songs rain from the depth of their personality. They exude the screen. Define the mood. Create the world. Breath life into each and every moment. The musical is a form of auditory art, in which the vocals, soul, and visuals must align so rightly. Loudness, and gimmick, cheapen this to the point of blandness. Musicals that fail to capture the heart of their own characters sit well with me not.
     
A hearty thanks to all those who sent in entries, if you're still interested in participating you can send me a link or post it below, I'll try to include it. Now go out into the world making musical waves and keeping the hills alive with the sound of music - naturally.
 

Saturday, May 29, 2010

Life is a Cabaret

Later today I’m hosting a blog-a-thon celebrating the wondrous musicals of the cinema. Check back later in the day for all the entries, here’s mine.
        
"Divine Decadence Darling"
I always say that I love Cabaret against my better judgement. Not one of Ebb & Kander’s stage shows is as saturated with classics like the original play and I always bemoan the fact that the film couldn’t make use of excellent standards like “Don’t Tell Mama” or “I Don’t Care Much”. Then, there’s the fact that they took a perfectly competent book and eviscerated it for reasons that are beyond my understanding. Yes, when I think about Cabaret it gets me as exasperated as much as it gets me cheerful. But, when I actually sit down to watch it, and the notes begin playing to usher in the beginning of “Wilkkomen” I’m already so far gone into a reverie that I immediately forget what it was that got me annoyed in the first place.
                
"Wilkkomen, Bienvenue, Welcome"
Cabaret takes place in Berlin during the onset of World War II and the actual Cabaret where we meet Sally Bowles and the Master of Ceremonies is as cathartic as can be. Sure, everything offered there is as synthetic as the dancing girls, but for a few moments it allows the Berliners to step outside of their horrid reality. In the wake of this calamity Cliff, a would-be writer, arrives at the Cabaret falling in love with Sally Bowles – our sociable heroine. But in this way, I suppose Cabaret is not so much a story about what happens as it is a story about how it happens. Fosse has always has his reputation for being an especially stylistic man, and Cabaret represents the zenith of his talents. For, in many ways, Cabaret is a bit like an allegory. We’re transported by the bawdy music and scintillating dances so that by the time tragedy is at hand we’re surprised, even though it’s been sneaking up on us for the entire film. It’s in this way that I (almost) forgive the excision of so many great numbers, and I suppose it’s important that York doesn’t do any singing. Sure, it’s been argued, he’s not really a lead in the film – and he isn’t in the typical sense. But it’s important that what we see of the Cabaret begins with his entrance and ends with his departure. He doesn’t sing, because we don’t either. He’s the only lifeline we have with this corrupted Berlin. More importantly, he can’t cope in a world so egregiously corrupted – neither can we.
               
"Tomorrow Belongs To Me"
But then, how can one call a sensation like Minelli’s Sally Bowles corrupted? It’s a perfect combination of star and character and Liza’s Sally is a force to be reckoned with, even if she does sing too well for the novice that Sally should be. Few musical moments are as heart wrenching as when she takes to the stage to sing “Maybe This Time” – a number that for some reason isn’t as oft remembered as it should be. Joel Grey’s androgynous Master of Ceremonies is more obviously perverse. The man has a talent for showmanship, and I’m still surprised that Oscar decided to reward him in the face of the more typical lineup. It’s a job well done on their part. I suppose in some ways, Fosse really is the star of the show. His direction is flawless, and even though I’ll forever hold that grudge for the shafting of this flick in the Best Picture category, at least they rightfully recognised Fosse for his directing. As we prepare for Liza’s final number I’m never sure if we should be praising her or Fosse. We notice his eerie theatrics as the screen is clouded and we notice how Liza manages to reach to the flawed core in the eponymous number. For us to understand Cabaret we have to understand the title number first. It’s not a song of irrepressible joy, but a resignation to a life of unfulfilling debauchery in the face of real pain. She realises the desperation and frenzy in the piece and as she sings those final few lines you can’t help but pity this ridiculous creature. They're all looking forward to tomorrow while simulatenously afraid to face it...and who can blame them?
          
No matter how much I wish Cabaret had done differently, I realise always that I can’t argue that what it does – because that is done flawlessly. I can’t think of any musical piece that manages to impress both dramatically and musically as this. It’s a perfect combination of skill on all counts and it cruises dangerously close to perfection at #14 on my list of favourites.
…oh yes, it also happens to my favourite musical film…hence, the review…

Reminder…

I’m hosting that Musical Blog-a-thon on Sunday (details here), so if I hope you’re getting those entire prepared – thanks to those who’ve already submitted. The list of entries will be up on Sunday by 5:00 pm.
     
PS. I hope you're voting for the LAMB Casting feature
Silly me, I forgot to leave the link...so I'm reposting...

Friday, May 28, 2010

Prince of Persia-The Sands of Time: Review

Prince of Persia! The one movie I can proudly tell you was terrible..... but was so so so awesome!
Okay so the movie is about Dastan, the prince of the Persian empire who comes into possession of a mythical dagger that allows the user to turn back time after leading an invasion into the city of Alamut under false pretenses by his evil uncle, Nizam. But before he can explore the full capabilities of the dagger, he is wrongly accused of murdering his father and goes on the run with the dagger and it's protector, Princess Tamina to clear his name and thwart his uncle who's plans threatens the Persian empire.
Now I know you're kinda confused with me saying that this movie was terrible but also awesome. Let me try to explain. See.... this movie is bullshit. But it's just so much fun to watch. It's one of those movies you watch and go, "Well that was stupid.. but damn that's cool." Prince of Persia is in every way a Bruckheimer popcorn flick that understands the limitations of it's genre but works well within it.
I've got to bring up the whole casting issues in this movie. First of, I am one of those guys who believes that race casting isn't an issue if the actor can pull off the character they are playing. In Prince of Persia, we saw some excellent casting choices of Caucasian actors playing Persian characters such as Alfred Molina as Sheik Amar and Ben Kingsley as Nizam. Alfred Molina, because he brings great comic relief in the same vein as Sallah from Raiders of the Lost Ark and Ben Kingsley for obvious reasons... because he was Ghandhi and he can do whatever the fuck he wants.
But then there is the casting of the two leads, Jake Gyllenhaal and Gemma Arterton. This is where the movie loses rating points. Because just as it happened on Pirates of the Caribbean, the two main actors who are more attractive than talented were wrongly casted alongside fantastic supporting actors and ends up getting upstaged.
 Jake Gyllenhaal was actually a fine choice for the role of Dastan because of the amounts of action, roof-scaling scenes he had to do. And I did like how he didn't try to be an all out manly action hero, Gyllenhall the boyish playfulness we have come to expect from him into his swashbuckling character which I thought was great. But the real problem was that he has absolutely no chemistry with Gemma Arterton who is stunningly gorgeous but has the most irritating high pitched voice, even Kristen Chenoweth would be insulted.
And what about the shitty storyline? OMG.. Nizam's evil plot to take over the throne of Persia is one of the most convoluted plans I have ever seen. His plan is pretty much the entire 6 seasons of Lost actually. It has time travel, purging and killing 12 year old boys. I'm watching this and I'm just thinking to myself.. "Well that don't make no sense." "So like, you kill your brother, to frame your nephew, to free up some time to go look for some magic sand, so you can go back in time... and kill your brother again? Smart"
But with all that being said, there is a reason why Prince of Persia is being considered the best video game adaptation film to date. And while I still think Advent Children will forever hold the number 1 spot, Prince of Persia is a close second. Prince of Persia succeeds because it chooses to focus more on it's characters and storytelling rather than having a slave-ish devotion to the video game and trying to incorporate the entire game into 1 hour 30 minutes.
And another thing that gives Prince of Persia the leg up over other video game adaptations is the budget. The Arabic world they've created in this movie, the costumes, the art direction, the cinematography, even the score is stunningly beautiful. I haven't seen Arabian set pieces look so epic in scale since Arabian Nights.
And damn the CGI was awesome. Prince of Persia was packed to the brim with loads of spectacle, very nicely made CGI action set pieces, mostly involving sand storms and disintegrating sand castles. And I like this film, being a Disney movie because it has slightly more violence in it. For once, we actually see people being pierced by the sword and being hit by the damn arrow. And blood! Cooool!
So anyway, the film is a very good, enjoyable, well made video game to screen adaptation. Prince of Persia is going to be one of those guilty pleasure movies cause it's tonnes and tonnes of fun but ultimately stupid and pointless.

RATING: 6/10
Why so sad, Carey? It's your birthday...damn it!
Now that's more like it!

BREAKING NEWS: Gary Coleman Dies

Former child actor Gary Coleman has passed away. He was 42.

The hospital where Coleman was being treated tells "The Insider" that Coleman died at approximately 12:05 p.m. Mountain time at Utah Valley Regional Medical Center. He was surrounded by family members and close friends when life support was terminated.

The family members would like to "express their appreciation and gratitude for the support and prayers that have been expressed for Gary and for them," according to the hospital.

A hospital representative told "The Insider" earlier Friday that Coleman suffered an intracranial hemorrhage on Wednesday night. After being immediately taken to a local hospital for treatment, he was transferred to another hospital for tests and treatment.

By mid-morning on Thursday, Coleman was conscious and lucid, but by early afternoon, he began slipping in and out of consciousness and his condition worsened. Coleman had not been in any condition to undergo surgery, the hospital rep said. Coleman had been unconscious and on life support prior to his death.

Source: The Insider

Flashback: Hercules

Few people believe that Disney had anything good to offer at 1994’s brilliant The Lion King. Luckily, I’m one of those few. I think Mulan is an obvious choice as something excellent, but the one that I hold even dearer and the one’s that less remembered is 1997’s Hercules. Only recently Luke pointed to a brilliant musical piece from the film, so I guess I’m not the only thinking about it at the moment. Of course, the film isn’t really an accurate account of the Hercules myth – like all thing’s Disney it’s simplified – but enchantingly so. I’d probably be moved to call the score for Hercules its triumph, and it’s really one of the best they’ve put out.
The story begins with the five muses who begin to recount the story of the great Hercules. It’s a clever choice from the filmmakers. It’s more personal than a narrator, but narration is necessary and the five muses (who are hilarious, I might add) do just enough to make this story accessible while keeping it in its time. This was back in the day before all animated films needed recognisable voices, since the film is littered with big Broadway stars that most of us probably don’t know. And it’s Broadway star Susan Egan who delivers on point voice work as Meg who stands out as the film’s star. Her role is shorter than most heroines, and she’s definitely more nuanced and Egan’s atypical smoky voice (atypical for Disney at least) that make her so memorable. It’s a pity she only gets one number, but she knocks it out of the park with “I Won’t Say I’m In Love” accompanied by the muses.
However, like so many of the stories from Disney Hercules is not just concerned with legend and romance. Like The Lion King before it (and in some ways even The Little Mermaid and Beauty & the Beast) it examines the relationship between children and parents. It’s not quite as invasive as The Lion King but it does a good job nonetheless. And Hercules is also lucky enough to have one of Disney’s most macabre villains. Unlike so many animated films it doesn’t aim to drown all its poignancy in silliness and though it does give in to the sentimental on occasion it still manages to remain honest. Sure, it doesn’t make my top 100 – but that doesn’t mean that I can’t love it still. It’s worthy of your time and remembrance…and that’s the Gospel Truth!
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