Professor_Marvel

I found it ironic that Kornbluth chose a version of Bob Dylan's "Lay Lady Lay" for the love scene in the movie. Beyond that, he selected a version by Isaac Hayes.

Dylan, arguably the greatest American songwriter of the last 50 years has, some may say, a unique vocal quality. Some may characterize his voice as interesting, others as nasal, and still others may classify it as awful.

The result is that many of his finest works are most recognizable in the versions recorded by artists other than Dylan himself. The Byrds' "Mr. Tambourine Man," Jimi Hendrix' "All Along the Watchtower," and Eric Clapton's "Knockin' on Heaven's Door" are all examples of songs better served by stylists other than the author.

In clearly recognizing this fact it surprises me that Josh Kornbluth would choose to star in Haiku Tunnel; a movie he also directed, wrote, and produced.

I understand the Woody Allen-esquire desire of some filmmakers to become the non-traditional leading men in their own work, but I couldn't help but think that Haiku Tunnel would have been better served by nearly anyone else in the lead role.

In fact, the casting could have been better on the whole. Only Helen Shumaker as head secretary Marlina really stood out on the basis of her performance.

Don't get me wrong, it's not as though I have nothing nice to say about the picture. For example, it was short.

Beyond that it was a fairly unique film with some comic value, although it was difficult to get around the lackluster delivery of the good lines.

It's a shame that this film did so poorly at the box office, because it might keep the great Gilliam from continuing to weave his sinister and magical fairy tales.

Grimm is another in the long line of eerie, fantastic pictures that Terry Gilliam has brought to the big screen. Surely it lacks the depth of Brazil or Twelve Monkeys, the decadence of Fear and Loathing or The Fisher King, and the wit of The Holy Grail or Time Bandits.

What it has is enough of each quality to create something unique for Gilliam, a big and entertaining Hollywood film that cements him as a strong and influential filmmaker. After all, where would the Burton's of the world be without him? Beyond being beautifully shot, the film is wonderfully cast and sharply written. Damon may have been a stretch when he was cast but he was strong as the domineering Will Grimm, albeit overshadowed by Heath Ledger's portrayal of brother Jacob. I've never been a big fan of Ledger's, but he is genuinely charming in this effort.

Despite these strong performances, the supporting cast steals the show. Gilliam mainstay Jonathan Pryce is fantastic as the Napoleonic general Delatombe. Peter Stormare equally compelling as the fiendish henchman Cavaldi, and the stunning Lena Headey is hypnotic as Angelika.

With luck the foreign and rental markets will make this movie a success, which is richly deserves to be, and encourage Gilliam and his ilk to continue to make movies what they are supposed to be...a world of fantasy and excitement.

and mine were plenty low when I watched "The Hitchhiker's Guide to the Galaxy." Despite this modest anticipation I couldn't help but be disappointed with the product. I suppose my love of the book has necessarily clouded my judgment, but nevertheless here is my attempt at an objective review.

I was encouraged during the opening credits to see (author) Douglas Adams' heavy involvement with the film, he is credited with co-writing the screenplay and acting as executive producer. These activities however began years ago, prior to Adams' death in 2001 (he wasn't even fifty years old).

I was also excited to see that the production staff included Jay Roach, Roger Birnbaum, and other talented folks who have delivered a good deal of quality product to theaters. Although I was previously unfamiliar with director Garth Jennings, I was very familiar with legendary casting director Susie Figgis, so I was in no way surprised to with the fine ensemble cast tasked with bringing the novel to life.

What I found interesting about the cast was fact that only Arthur Dent and Marvin the robot are English. One might have expected Ford Prefect and Trillian to speak with British accents, but one would have been wrong. All in all, I think that all of the principles did a fine job. Martin Freeman was more than passable as the rumpled, confused, and overly cautious Dent. Mos Def seemed restrained in his portrayal of Ford, which was a major disappointment. Understanding the dynamic nature that the rapper brings to his musical performances, I expected more of that flair in his role as a universe-trotting journalist. It's tough to tell whether this is a function of the direction, the script, or the actor, in any case it was below expectations. Elf's Zooey Deschanel was typically charming as Tricia MacMillan, but there was certainly nothing memorable about her performance.

The best of the major parts was turned in by veteran character actor Sam Rockwell, taking a Clinton-caricature approach to the role of Galaxy President Zaphod Beeblebrox. Rockwell was strong, as always, and sharp in both his verbal and physical comic delivery.

Understanding that it is challenging, even daunting to take such a familiar text to the screen, I was impressed with many of the special effects and visuals. Having said that Karey Kirkpatrick's (James and the Giant Peach, Chicken Run, et al) screenplay fell short of capturing some of the important elements of the original text, while adding components that took the film in uncomfortable directions.

The lesson here is one that Hollywood never seems to grasp, that some books are better left alone.