Music Mondays: White Lies "Death"

Remember when I said a few weeks ago that I was now obsessed with the music in A Girl Walks Home Alone at Night? You don't? Well, I am. Particularly the first scene where our two leads listen to music in her underground apartment. That song, after hardly any sleuthing, turns out to be "Death" by British rock band White Lies, and today's Music Monday selection.

This band, and the song, are completely new to me. But sometimes, there are just those tracks that connect with you, even if it's just because the lyrics or melody generate images of something you love. Those are my favorite songs, and the ones that stick with me the longest. My favorite artists have always been discoveries from film or TV (I found last week's artist, Elisa, the same way). Now, this song from my new favorite vampire movie has introduced me to a whole collection of songs by White Lies off of their 2009 debut album To Lose My Life... —"Death" is an upbeat anthem that influenced not only one of the best flicks, but the best scene, from last year's movies.

As I await the inevitable release of the Girl Walks Home Alone at Night collector's vinyl, "Death" will remain on digital repeat. I hope you'll give it a listen—or come back to it, once you see the movie for yourself. Sometimes it's better to experience a song first accompanied by some great visuals. But I promise you this: you won't be able to get it out from under your skin, and you'll be in love by the first note.

Artist: White Lies
Song: "Death" | download | stream
Album: To Lose My Life...

Project 365: Movies 37 - 41

37 / 365: Gymkata (1985)

© MGM

Thank god for epically bad movies. We watch movies like Hell Comes to Frogtown and Monkey Shines to remind us not to take everything so seriously all the time, and Gymkata swept in this week to do just that. This movie takes the same approach as Esther Williams pictures in the 1950s did: create a plot around an actor's singular skill, and hammer that skill into every scene, no matter how awkward. For Esther, it was swimming... for Gymkata star Kurt Thomas, it's gymnastics.

Thomas plays Jonathan Cabot, a world-renowned gymnast that the government enlists to infiltrate the dangerous nation of Parmistan (teehee) to participate in the brutal and dangerous competition called "The Game." It's really just 'the most dangerous game,' only really silly. Anyways, if Jonathan can manage a victory, the US will be able to come into the country and build the very necessary "star wars" site to do... I'm not sure what. Anyways, he must combine his gymnastics skills with eastern martial arts if he has any hope of surviving, much less winning! He is paired with a Parmistan princess named Rubali (Tetchie Agbayani) because she's good with knives or something. It's alright, you can snicker. I know I am.

This movie is so hysterically wonderful and bad, I delighted in every second of it. Gymnastics come into play in inconceivable ways, and thank god there is a pommel horse strategically placed in that town square when Jonathan needs it to battle a hundred crazy Parmistanians! The acting is masterful and I chortled every time Richard Norton came on screen. Oh, and see that picture above of the man with the eagle? Yeah, I can't even explain that to you, but it's easily my favorite shot in the entire movie. Kurt Thomas' tumbling and acrobatic skills are a national treasure. Wars and dictators could be stopped with the sheer power of his rope-climbing.

Watch Gymkata with 15 friends, just like I did, and you'll experience real-life MST3K commentary.

Rating: ★½ / 5 stars
Bad Movie Score: 3.5 / 5
Watched: Theater
Seen Before: No

38 / 365: Saving Private Ryan (1998)

© DreamWorks

This movie was the #71 film on my AFI Top 100 countdown challenge. Read my full review here.

Rating: ★★★★½ / 5 stars
Watched: VUDU
Seen Before: Yes

39 / 365: Nymphomaniac: Vol. 2 (2014)

© Magnolia Pictures

A continuation of my review last week for the Nymphomaniac films takes us to Volume II. Our story picks right up as narrator and nympho Joe (Charlotte Gainsbourg) recounts her life story to Seligman (Stellan Skarsgård). He participates in her story-telling by philosophically tacking on complex meaning to basic or crude sexual experiences (i.e. knot-making, church, classical music, etc.) The shift from Young Joe to Older Joe isn't quick... time passes, but nonetheless, I lamented seeing Joe age, even though I knew it had to happen. I'd grown accustomed to Stacy Martin as our flawed heroine. Charlotte Gainsbourg is rougher, with harder edges. We're reminded that such a life could only serve to wreck your demeanor, much as Young Joe tried to avoid that.

I enjoyed this film less, overall. The first volume was more fun, the second more desperate. It finds itself again about halfway through—the first half paces differently than the rest, including the first volume, but Joe picks her story back up and we get to meet more characters. And Joe's sequences with P show a nice evolution in this broken character, and they are very touching.... at first.

We spend the entire movie waiting to see how Joe ended up in that alleyway, beaten all to hell... and nothing could have prepared me for the reveal. Shocking and sad that her life led to this point, yet she had a savior in Seligman. The message-laden ending conversation between Joe and Seligman is a bit on the nose, but Joe has the wherewithal to point that out too, so it's alright. That is, until the very last scene, which I thought was so absurdly unnecessary, it completely changes everything I felt about the movie leading up to it. Unfortunate, because you really think that Von Trier is going to keep with this dynamic he's set up, that he'd respect it, but it was not to be.

The more I think about how the movie ended, the more it angers me. Regardless of the fact that these were meant to be one continuous feature, the mere act of splitting them up means I get to judge them separately. And they are very different. For anyone interested in watching both Nyphomaniac films, know that they are both remarkably good, albeit shocking. If nudity makes you uncomfortable, just... don't watch it with your mother. But you've been warned about the final scene, which will leave a bad taste in your mouth.

Rating: ★★★ / 5 stars
Watched: Netflix
Seen Before: No

40 / 365: Fifty Shades of Grey (2015)

© Focus Features

I read these books, cover to cover, in Spring 2012. They are indescribably bad. Why did I read them, you might ask? On the surface, this is my kind of melodrama/romance. Were it not for every word written on the page by author (I use the term loosely) E. L. James, it might have been something remotely readable. Which is why when they announced a film adaptation that same year, I was struck with this feeling: No matter what they do, it has to be better than the source material.

On opening night, I joined a collection of fans and haters to see what all the fuss was about and if my prediction was true. Most people know the back-story by now about how the books came to be (Twilight fan fiction that went viral), so on to the "plot." Anastasia Steele (Dakota Johnson) is a virginal college senior who finds herself interviewing the youngest and most eligible bachelor in Seattle, Christian Grey (Jamie Dornan) for the school paper. Never mind how she got that gig. She's mousey and bang-y (meaning she has bangs, not like... she's bangable—I mean, yes, she is if you consider the rest of the—oh forget it) and Mr. Grey intimidates her with his piercing stare and penthouse office view. Eventually he tracks her down at her job stocking hardware shelves and suggestively asks to buy masking tape and the rest is history.

The main focus of the story is the reveal that Christian is into BDSM play, a Dominant looking for a submissive. No romance for him, he declares, yet all I see is romance with his piano playing, gift-giving, helicopter flying actions. He's a jerk because he's "complicated," which his back story attempts to explain. The movie and he make a big fuss about Ana's decision to sign a contract to essentially become his sex slave, all the while they're getting down and dirty in his playroom anyways, contract be damned. Here lies the problem...

No, not the violence against women. That gives this movie and its source book way too much credit, even if it does show explicitly what an abusive relationship looks like. The problem is, it's bad BDSM. Yes, meaning there is good BDSM out there, which relies wholly on trust, not possession and obsession.  The movie, though, has no plot, and that is my problem. The first book didn't either, but thankfully, the screenwriter scrapped out all the other garbage and left us with the bare bones of what could be the only feasibly watchable adaptation of the book. The book was nearly impossible to endure, what with Ana's embarrassing internal monologue and indecisive weirdness... All of that got nixed and we're just left with stunning art direction, a spectacular soundtrack, and the occasional sexy moment. I wish there were more sexy moments, but alas, there may have been 2 out of like... 12 scenes that actually accomplished this. For being so risque, this BDSM play is pretty boring.

In the end, though, my prediction was true. I don't know what people who didn't read the books will think, but know this: Anyone who read them knows that trying to make something amazing out of the mountain of drivel that is this trilogy is a tall order. The screenwriter, Kelly Marcel, deserves an award for merely attempting it. The script suffers a bit from fighting so hard to be good and watchable while still incorporating fan "Easter eggs" that were better left excluded. But she made characters that were more likable, more relatable, and less obnoxious than the ones James created, and that's saying something. And in the end, Ana comes out on top, this time around, at least. While I'm sure Marcel would have loved to change... everything else, her hands were tied. Ha! wink wink.

See it, don't see it... it won't really matter, because no matter what, you're gonna get two more. Don't fight it, just try to find the fun. And the funny.

Rating: ★★½ / 5 stars
Watched: Theater
Seen Before: No

41 / 365: Virunga (2014)

© Netflix

Virunga is not just a documentary—it's a public awareness film. A nominee for the Best Documentary Oscar this year, it recounts the complex history of the instability and ravaged nation of the Congo in an expertly, yet curtly visual way. And that's just the first five minutes. Then you're introduced to Virunga National Park in the eastern Democratic Republic of Congo, and the Rangers who have been enlisted to protect the land, the wildlife, and the park's natural resources from the endless onslaught of poachers, powerful rebel groups, and international commerce.

Filmmaker Orlando von Einsiedel traveled to the Congo with the intention of following around specific individuals risking their lives to protect Virunga, but what he got was so much more. Upon his arrival, conflict with the M23 Rebellion flared up and British oil company Soco International began a campaign to drill in Virunga's south eastern Lake Edward. Von Einsiedel quickly enlists the participation of investigative journalist Mélanie Gouby, as well as staff at Virunga National Park, including gorilla handler, André Bauma, Chief Warden Emmanuel de Merode, and Park Ranger Rodrigue Katembo.

The film glitters with stunning cinematography and photography, so much so that it feels at times like you are watching "Planet Earth," before you're brought back to the realities of a war-torn country. There is so much upheaval, and von Einsiedel manages to capture so much of the turmoil while still gripping hold of why these men (130 of whom have died to protect Virunga) do what they do. The sequences with André Bauma and his orphaned gorillas are heartbreaking, adorable, and full of hope.

There is a cry for help within this documentary that can't be ignored. The attention paid to it can only help the cause to protect the National Park, and I'm grateful that everyone who participated in the making of this film knew how important a story it was to share with the world.

Rating: ★★★★ / 5 stars
Watched: Netflix
Seen Before: No

AFI Top 100: #71 "Saving Private Ryan"

Tom Sizemore & Tom Hanks in Saving Private Ryan (1998)

Submitting this really late this week. I've been trying to get better about finishing these earlier, but alas, I keep getting distracted, mostly by work. But press on, we must! Some in our movie group dreaded coming to this week's film, even though it is considered one of the best war films ever made. We've gotten to #71 on our AFI Top 100 adventure, Saving Private Ryan. I understand where the hesitation comes from, of course. Director Steven Spielberg wholly outdid himself in his this endeavor, presenting an unfiltered, unromantic view of combat during the second World War. That, however, does not make it easy to watch.

Our film takes place during the Ally invasion of Normandy, France in June 1044, as we follow a company of American soldiers directly after they survive the battle on Omaha Beach. This battle opens the action of the film—it was the bloodiest campaign of the war and the single most important push to move Allied troops into Europe, known as D-Day. The true crux of this story begins at the War Department when a series of three death notifications are written all to the same woman, Mrs. Ryan, informing her that three of her sons have died in battle on the same day. When the Military Chief of Staff is notified that Mrs. Ryan has a fourth son who just parachuted into Normandy, he orders that a company is sent to extract and bring him home.

Food & Lib: Ledlow LA, Downtown

Before hopping into the Rock 'n' Roll Flea Market, which I posted about last week, I met my friend Jason for brunch at nearby Ledlow in Downtown Los Angeles. The area is less than familiar to me, so when Jason suggested this quiet, corner spot on 4th & Main, I jumped at the chance.

The day was beyond beautiful, a perfect sunny and cool southern California morning. The glass-encased restaurant reflected sunlight and the street scene back out at us as we strolled past the outdoor seating area, framed in vined greenery. I frequently think about all these SoCal dining spots lose half their seating to rain... oh, maybe 10 times per year. What a perfect place to eat outside.




I say that, of course, as Jason and I waltz straight inside Ledlow and take a seat in a comfortable booth... not outside. Hey, what can I say? We're so spoiled with beautiful sunny days and open-air dining, we wholly take it for granted. ;)

The interior of Ledlow was simple and airy. The sunlight bouncing through the windows cascaded around, filling the room that was lined on the opposite side with mirrors. All of the light bulbs were dim and flickering, Edison-style, since the daylight was plenty bright. Sparse market lights hung high above the tables, and I snapped some pictures until—of course—I was distracted by the display of flaky, baked goods at the entrance.






Snug in our booth, I ordered myself a frothy latte and we chatted about trying to work out and eat better and all that stuff that should wait until after you've finished your high calorie drinks. Same goes for breakfast sandwiches.

I've been a little obsessed with croissant breakfast sandwiches lately, so when I saw that Ledlow had one on their brunch menu, it was a no-brainer. When it came out, I thought, Aww, it's so tiny. Yeah, I was completely wrong. It filled me up so fast, I felt more than satisfied. The croissant was flaky and buttery—their pastries and baked goods are absolutely something to write home about. The country ham was just the right amount of salty, and so thinly sliced, I thought I may have been gifted some prosciutto.






Jason ordered their Avocado & Cream Cheese Toast, which went to the top of my "must do this at home, it's so easy!" list.

I'd love to return to this little spot to try out their dinner menu, which has some of my favorite things to try (i.e. Moules Frites!). It also has selections that I know John would be ecstatic to order, but I would be a bit afraid to give a taste (like Beef Tongue!)

If you're near 4th & Main, don't hesitate to stop in at this spot, even if just to order a drink at their epic, well-stocked bar. The staff was lovely and we felt so relaxed, I could have lounged there all day, had we not had a date with the Flea Market just a block away.

Music Mondays: Elisa "Stranger"

One of my favorite songs of all time, and probably the single most played song on my iPod ever. Elisa Toffoli is a singer-songwriter from Italy who splits her time between singing opera with Andrea Boccelli, and writing pop songs in Italian and English. In 2007, her 2001 album Then Comes the Sun, was released in the United States, which contains her most addictive English tracks. Today's song, "Stranger," is one of them, and it is somber and explosive.

Elisa's voice is so unique, reminiscent of talent the likes of Björk, and admittedly, I don't think it's for everyone. For me, however, her voice is transcendent. I first discovered her when her song (from this same album) entitled "Dancing" was used in Season 3 of the US version of "So You Think You Can Dance," in what remains one of my favorite routines by choreographer Mia Michaels. From that moment on, I can honestly say I was obsessed with Elisa. I even saw her in concert at The Roxy in 2009, and recorded her singing today's song.

Selections from this album were compiled again for a different US release, Dancing, in 2008, but my preference has always been for this original album. I think you'll love it too. xx

Artist: Elisa
Song: "Stranger" | download | stream
Album: Then Comes the Sun