Jetta Carleton's THE MOONFLOWER VINE

Hailed as a rediscovered classic, The Moonflower Vine shares many parallels with Harper Lee's famed To Kill a Mockingbird. Both are the only novels of their respective authors; both are autobiographical in nature, and focus on socio-political issues of their respective times and places without making those issues the story's focus. For Lee, it was southern rascism; for Carleton, it was women in the Midwest.

The story centers around a farming family in Missouri, the Soames family. Matthew Soames overshadows the whole family with his religious devotion, and stringent nature; Callie Soames is the family rock, and mother of four, Jessica, Leonie, Mathy, and Mary Jo. Carleton's narrative captures their triumphs, doubts, and tragedies over the course of a lifetime.

The strength of this book is undoubtedly its simple but slicing characteristics. Matthew is never convinced that he himself is good enough, a feeling he projects onto his daughters and particularly eldest Jessica; by contrast, he is constantly in conflict with himself, struggling with feelings of inferiority within himself while lording superiority over his wife, children, and the townfolk. Outisde the house he is beloved and respected; within, he barely acknowledges his family. Yet he isn't the evil tyrant we, as readers, want him to be; instead, he is a deeply divided, harsh, lost man, needing Callie probably more than she needs him.
Callie is more of an enigma, and we follow her viewpoint last in the story--the book is divided into six parts, each following the life of a separate family member. She is a much more simplistic character, but she understands Matthew perfectly; their marriage is frought with love and trials of fidelity, and patience.

The sisters, too, feel connected but are distinct enough to make this a genuine family. Jessica is the headstrong, grounded first child who makes a foolish decision, while Leonie is the anxious good-girl with her own folly. Mathy is utterly reckless, and the Mary Jo whom we only truly meet as an adult is introspective and wise beyond her years (and is undoubtedly the author; Moonflower is, after all, her only novel). The events of their lives unfold with the practicality a Midwestern story should possess; this isn't an overblown soap-opera, but rather a tale of dreams tucked quietly away into treasure chests while one house serves as a harbor for all the ships to come home to, year after year in the summers.

Verdict: The story doesn't reach the heights of greatness that Mockingbird does, though it's hard to pinpoint why. However, it's a wonderful family drama and in-depth character study, and as much about one family as it is about an oft-unexplored pocket of America.

-elln

The Hangover

It was recently New Years so this seems appropriate fodder. So let's talk about the highest grossing R-rated comedy ever. And what makes it so funny.

Todd Phillips hasn't really produced anything this, well, sophisticated before. Odd word choice, and yeah it's a comedy and it can be gross but it never dips to the gratuitously disgusting levels of something like Superbad. In fact, most of the humor comes from the absurd situations our beloved characters find themselves in.

On a trip to Vegas to celebrate Doug's (Justin Bartha) last nights as a free man, he and his buddies Phil (Bradley Cooper), Alan (Zach Galifianakis), and Stu (Ed Helms) are accidentally roofied and can't remember the entire night. They wake up in the hotel villa with a tiger, a chicken, a baby, a missing tooth, and a missing Doug. Desperate to find Doug, the three remaining men try to piece together the night before to save Doug's wedding and their own butts.

A film like this has to succeed on the performances of its leads, and The Hangover does just that. Bradley Cooper thrives in asshole roles (see Wedding Crashers) and pulls off fast talker, narcissistic Phil perfectly. Stu is the goody-two-shoes, owned-by-his-girlfriend, nerdy but successful dentist who usually picks up the tab. And then there's Alan...oh, Alan. Invited because he's the bride's brother, Alan is the perfect example of one of those guys in real life who don't have anything wrong with them that you can pinpoint, like Asperger's, but who continually make socially awkward, ignorant, or stupid comments that either make you laugh in disbelief or shy away from them while trying to mask your expression of horror at the same time. They say things like, "I didn't know they gave out rings at the Holocaust!", one of Alan's best lines, with complete and honest surprise. Sounds like a certain Belushi we all know and love.

The characterizations are refreshing in that we know these stereotypes, but they're downplayed and believable here. The acting is top-notch, as is the writing as the absurdities continue piling one on top of the other. The humor ranges from slapstick to jawdropping to situational irony, and yet somehow it all feels real. It feels like these guys could actually steal Mike Tyson's tiger, and actually get tazed for fun in a police station, and actually drive a cop car around illegally.

This is, of course, a certain brand of humor. Not everyone will find the humor base enough, or mainstream enough; it's a bit offbeat and quirky at times, especially some of Alan's creepier moments. This isn't stupid comedy, and the dialogue is smarter-than-average. Even if the premise sounds tried and tired--four guys go to Vegas for a wild night--it's so well-executed that it definitely had me cracking up. The only way you'll know, though, is to try it for yourself.

I do have to comment on the weakness of the soundtrack. A couple of the hip-hop/rap songs may have suited the tone of the movie, but they were way too noticeable and completely overtook some scenes instead of supporting them.

Verdict: While the premise may sound cliched, this is one of the funniest comedies of 2009 (and perhaps the decade), and certainly the most well-written.

-elln

Ringside's RINGSIDE

In 2005 Ringside debuted its self-titled album to minor buzz, but quickly faded out of the limelight. They promised another album in 2007 to arrive the following year, but that never came to fruition. Their debut is a low-fi indie album with an emphasis on clever pop in the vein of a less experimental Eels. It's a largely undiscovered gem aside from two singles which received modest play in commercials and such, but it's easy listening for those of us who are suckers for well-crafted pop.

The album opens with "Struggle," arguably the catchiest song on the whole thing, and a laid-back version of Eels meets Grand National. It's a very polished piece of light-weight, smooth pop; if you get anything from this album, get this smoky, cool, seductive song. "Cold on Me" flirts with a jazz/blues background, while "Trixie" is a solid if forgettable album addition. "Miss You" is as downer as the album gets, and while the lyrics are far from sophisticated, the tune carries the song (this is the case for much of the album), and it's almost reminiscent of Coldplay without the lush sound. "Dreambat 730" is a pleasant surprise and one of the album's strongest offerings, though the rhyming walks the fine line between immature and intelligent. It does proffer the album's most provocative lyrics if only for their nonsensical qualities, particularly in the second verse where Scott Thomas tackles masochistic love: "I think I need my spine cracked/break my back/come on, baby, take me back/pinch me, lynch me, hang me from old hickory/sing your sings of peace and love/come on, baby, beat me up/oh, now, don't worry/I like it when you hurt me."
"Sleep Well, Jeff" is catchy enough, while "Talk to Me" is probably the sleekest, smoothest track on the album. "Raining Next Door" is another song with subpar lyrics but with a solid enough hook to make it another quality track. "Criminal" demonstrates that Ringside should probably stick to the catchy, shallow indie beats instead of ballads-turned-cheesy like this one. One moment it pulls at the heartstrings and the next it's easy to be scornful at Thomas' attempted soul-baring.
"Jackie" is a better effort than the earlier, sounding even a bit Mellencampy aside from the synth effects. Unfortunately, all the titles on the album tracks are abysmal.
Ultimately, the electronica keeps the listener at arm's length, but you're still gonna be admiring across the distance. This isn't the best thing since sliced bread, but in spite of its lyrical mediocrity and lack of experimentation, smart melodies and insanely addictive electronic production make it a diamond in the rough. For lovers of Eels, Grand National, Hard-Fi, and RJD2.

Verdict: Unimaginative on the lyrical end, Ringside's negative aspects are outweighed by catchy beats and immaculate production.

-elln

Castle Freeman Jr.'s GO WITH ME

Who names their kid "Castle"? Just had to get that out of the system.

One of the most underappreciated art forms ever, not just in America, is the novella or short novel. For most novels you can cut out a ton of the content and have a cleaner, better story. But, for some reason, people don't take them seriously. Freeman Jr.'s Go With Me should make people think twice.

In a tiny, rugged Vermont town Lillian is being stalked. A local enigma, Blackway, has killed her cat and forced her boyfriend out of the state. She doesn't have proof, so local law enforcement advises her to find other ways to deal with the situation. She seeks out the aging Lester and young Nate to help remedy the situation with Blackway; meanwhile, the town elders sit around contemplating who will win in the impending fight.

This story is cold, stark, and most importantly an analytic dissection of action and consequence in a limited, high-tension environment. This is not a book to give you warm fuzzies. It doesn't even want you to like its characters. Blackway is a frightening, looming presence, Lester is a taciturn old man, Nate barely says a word because he's a simpleton, and Lillian is willful but often a bitch even to the men helping her. And although we can barely empathize with or relate to these characters, the story still draws us in with its calculating precision and magnifying glass structure. This effect is only amplified by the stark and ruthless writing. Another pull is the mystery of Blackway, who appears but briefly in person.

The plot doesn't lumber, it builds and then races to a climax, propelling the story forward. It's a story which has been taunting us by pausing in various places along its path toward the final destination. Arguably the weakest part of the text is the council of town elders; while they do give insight into the provincialism and homespun nature of the town, they often repeat themselves...and as true to real life as that is, that doesn't make the technique interesting.

Verdict: this short but sweet mystery thriller is a dark and treacherous read.

-elln

Fantastic Mr. Fox (Film)

Based on the book by Roahld Dahl, Fantastic Mr. Fox is Wes Anderson's first foray into animation--and what a beatific foray it is. Using painstaking stop motion animation and breathtaking dioramas, Anderson has brought Dahl's quirky and colorful landscape to life.

Mr. Fox is the most successful thief around until he hangs up his criminal hat to get married. But when Mr. and Mrs. Fox move house, Mr. Fox is tempted to a life of crime once again by the proximity of the meanest and richest farmers in the county--Boggis, Bunce, and Bean. Mr. Fox starts stealing again, but once the farmers find out war ensues.

This could easily be simply a children's film, but the beauty is that it isn't just that. While kids are sure to enjoy it, it works on all levels. It's one of those rare, off-beat, delightful films which offers something for everyone. Anderson never loses sight of the fact that he's adapting a children's story which allows latitude for silly and fun elements; nor does he let goofiness override the smart dialogue or direction. Crucial to the success of the film is the humor, which includes slapstick and physical humor, as well as sarcasm and deadpan one-liners. It's never over the top and never amiss.

The visual style is scruffy and endearing, and where would it be without an excellent cast? George Clooney is stellar as Mr. Fox, as is Meryl Streep as Mrs. Fox. The highlight performance, though, is Jason Schwartzman as Mr. and Mrs. Fox's son, a disaffected cape-wearing youth cub. other performances are solid and appropriate for such a charming cast of side characters. The music is a spare country soundtrack which completes the film.

All in all this is a splendid, unconventional treat and showcases Anderson's greatest abilities yet.

-elln

Dr. Dog's FATE

Philadelphia natives (and yes, I have seen them live), Dr. Dog have slowly and steadily been making a reputation with mellow, lo-fi "indie" rock for years. Well, it might be labeled as indie rock but that's just because it's too complicated to say they're psychedelic blues rock meets classic '60's pop. "The Breeze" isn't the most overwhelming album opener, but it sets the mellow tone the album will maintain and uses some interesting flute instrumentation near the end. "Hang On" introduces the bluesy tone and smattering of country which will dominate the album, including some well-placed harmonica work and gospel vocals. It also sports some of the best content lyrically: "and what you thought was a hurricane was just the rustling of the wind/why do you think we need amazing grace just to tell it like it is?/ oh I don't need no doctor to tear me all apart/I just need you to mend my heart."

"Old Days" is another album highlight, with snare drums layered over by far-off vocals, shakers, and other strange percussion, supplemented by a piano hook in a fuzzy psychedlic folk fusion. It's astounding how much they achieve without traditional instrumentation. "Army of Ancients" is for the true blues-lover tinged with some NRBQ-esque jazz. "The Rabbit, the Bat, and the Reindeer" is the catchiest song on the album, a piece of excellent piano-driven druggie pop, while "The Ark" is a close second and the darkest song on the album in tone. It opens with mean, driving guitars which demand your attention, and again that military snare; the lyrics are also some of the best of the album: "God, he called for rain/so I built an ark but no rain came/I was ashamed...Love, she asked for more/but what I gave only made her poor." This is the only real rock on the album, but it shines beautifully and it's much rawer than the other tracks.

"From" is a relaxed, trippy love ballad, appreciable for its slow build and rooted in folklore lyrics. Lyrically the album is superior as it strays from the beaten path to express love and friendship in unconventional ways, works with random images like trains and trees, and delves into folklore, large thematic concepts, and even biblical references. This strength is particularly evident in "100 Years," which explores mortality and slavery in a tall tale manner: "About 100 years from now I'm going to marry you out of common sense/and get out from behind this plow."

"Uncovering the Old" is a solid album contribution, but not particularly remarkable compared to earlier tracks. "The Beach" comes closest to the sharp guitars and attitude of "The [brilliant] Ark," and sports the lyrics from which came the album title. Album closer "My Friend" cleverly weaves together the whole album, starting with a country-tinged opener and using themes from all the songs, or refering lyrics from the other tracks. It ends perfectly with the sound of a train pulling away. This is an album which took a while to grow on me, but it will stay with me the rest of my life. Highly recommended for all ages.

-elln

Duplicity

Famed director Tony Gilroy's latest effort, Duplicity, is a mixed bag. Clive Owen is Ray and Julia Roberts is Clare, and they are MI6 and CIA agents respectively. After two one-night stands they team up to extract themselves from their agencies and go private, intent on swindling both sides out of millions of dollars to set themselves up for the rest of their lives. So they sign on with a private corporate group intent on stealing the formula to a rival's new product--but the question is who is playing who?

The main draw of this film is how paranoid it makes you. Really. When the two leads constantly question each other, nervous that the other will take off with all the funds, the audience is constantly running through the maze wondering who is on whose side. The slick filming and direction may set the tone for this quirky, offbeat spy movie, but the plot gets a bit too convoluted to follow, and lacks a big reveal which should be a payoff for the audience. It's still engaging, however, as is the dialogue between the two leads--or what little there is of it--minus the one embarrassingly mushy love confession. Most of their relationship is sexual, but since it's a spy movie, whatever.

The film does suffer, at times, from info-dumping, which doesn't come off quite as eloquently as it did, in, say, something like Oceans 11. As Dick's team explained all their intricate little spy tricks to him I was rolling my eyes.

The callousness and scheming of corporate america is totally trashed here (I approve!), and Paul Giamatti is brilliant in his portrayal of egotistic, maniacal corporate executive Dick Garsik. In fact most of the cast is stellar. The movie has a notably good soundtrack, with a lot of Spanish-sounding tracks to empahsize the sexiness of it all. The characters themselves might not be particularly complex, the plot might be too complicated at times, but the fun is all in navigating the labyrinth of who is using who, and the heart-pumping action is thrilling. Even if the ending was a bit lackluster, I enjoyed the very last scene immensely, and was glad to have good old Clare and Ray back from their hiatus as fast-talking spies instead of people-who-make-really-trite-and-hackneyed-love-speeches.

-elln