Join Chronological Snobbery for a 10 Year anniversary investigation of the 90's-era detective movie "The Zero Effect".
Read here.
Monday, January 28, 2008
Sunday, January 27, 2008
Zero Effect - 10 Years Later
The League has been asked by the powers that be at Chronological Snobbery to participate in a bit of a movie review round-robin for "The Zero Effect". It seems that the movie, Zero Effect came out ten years ago. I saw it on DVD within a year or so of its release on home video.
Rather than try to remember a movie I hadn't seen in about 9 years, I picked it up from Netflix.
I admit that I wasn't a huge fan of "Zero Effect" when I saw the movie the first time. I definitely got that the movie was a modern-day Sherlock Holmes, with Bill Pullman in the role of Daryl Zero/ Holmes and Ben Stiller in the role of Steve Arlo/ Watson. While working, Daryl Zero has superhuman abilities of deduction and intuition. Off the case, he's a drug-addled lunatic who plays the guitar. Badly. Just as Holmes was supposed to play the violin and partake in a bit of, if memory serves, cocaine, the analog is pretty straightforward. And just as Watson was supposed to declare "by jove! How the deuce did you deduce that, Holmes?", so is Stiller put the position of being both impressed by his employer's abilities, as well as assisting him and representing him to the public.
And while I certainly wouldn't want a "modern day Holmes" movie, I wasn't sure what, exactly, Kasdan was trying to create. Was this Holmes through the eyes of the modern day detective movie? Or was it Holmes through the eyes of the son of a successful Hollywood producer?
The plot/ mystery of the movie is an excuse for the audience to meet Daryl Zero and Steve Arlo, and to challenge the status quo we're to understand they share when the movie begins. Should Steve Arlo give up his working relationship with Zero for the way it interferes with his personal life? Can Zero find love?
What starts off as an amusing premise never really works. The movie isn't funny, and I don't think it's intended to be so. So I'm not really sure what Kasdan was intending. Too much time is spent concerned with the quirky relationship of Zero and Arlo, and the mystery plot isn't necessarily engaging enough on its own to work as a feature film. Perhaps this would be a great pilot leading into a television series. Long story short, its tough to ever know what is supposed to be the A-plot of the movie, and what is intended to the B-Plot. Are we watching a movie about Zero and Arlo or the blackmail case they're supposed to be uncovering? Is this a standard case for them, or is this one particularly unusual?
Part of the problem is that Pullman is only occasionally convincing as an unhinged eccentric genius. Too much of the time, perhaps, he's on the case, and so seems together. Other shows, such as Monk or Psyche feature quirky detectives (Monk, most specifically comes to mind as an example of a detective program which is completely dedicated to the protagonist's psychoses). Prior to that, Columbo and others had been pretty wacky detectives working through convoluted plots. There's nothing here in "Zero Effect" to defy expectations. Instead, not a whole lot seems to happen. Character bits that are revealed skew towards the depressing, but with so little time to get to know Arlo and Zero, its tough to get invested. Pullman has never struck me as an actor of great range, and Zero Effect does nothing to erase that notion.
TV and movies are full of such characters, and drug-addled mood swings may look good on paper, but in a movie where we're given little room to feel sympathy for our leading man to begin with, profanity-laced binges don't really draw you in. Honestly, the idea seems like something lifted out of a completely different movie, as does the intentionally awkward "Zero plays the guitar" scene.
Ben Stiller's portrayal of Steve Arlo is hampered by stilted dialog he delivers mostly through clenched teeth. This would have been a post-"Ben Stiller Show" Stiller, but pre-Super Stardom from "There's Something About Mary" and the schticky groove Stiller would carve out with films like "Meet the Fockers". Honestly, I'd forgotten he was the Watson-archetype in this film, and raised an eyebrow in the first frames when he appeared. He more or less disappears going into the third reel, with one scene which resolves his character arc and a tacked on wedding scene to give our character an out at the end of the film.
Readers may recall that the Sherlock Holmes stories were told from the perspective of Watson in order to give the reader the same surprise the audience might feel upon hearing Holmes spout out an amazing deduction. However, director/ writer Kasdan switched the POV from Arlo to Zero somewhat abruptly early on in the film, taking away the exasperated amazement that Arlo might feel working side by side with an unknowable genius. In many ways, this gives the feeling that the screenplay was cobbled together from various parts of various drafts and that there's never any solid, single point of view to the movie. No doubt this was done to accommodate the scenes with GLoria Sullivan, which, by necessity to the plot, could not include Arlo. Unfortunately, this makes Arlo semi-redundant within the structure of the story.
For someone with so much screentime and who is supposed to win over Daryl Zero, Kim Dickens' Gloria Sullivan is a surprisingly dull character and never feels like the foil she's described to be in the film's final moments (I literally paused and thought to myself... "oh, yeah... I guess she did do all of that..." as Zero re-capped why he admired her so.). Ryan O'Neal is really the only other player, and so in a mystery such as this, there just really isn't much mystery to go around. But he pretty much plays Ryan O'Neal, if you're wondering.
Director/ Writer/ etc... Jake Kasdan would have been about 23 at the time of the film's creation, and that may account for a lot of the problems with the film. Too young, perhaps, to really realize he was recycling material. Mistaking drudging, monotone dialog for moodiness, and Dennis Hopper-channeling mania for Zero as "quirkiness", whatever humor he finds in the inconsistent pill-popping of Zero simply doesn't work.
Perhaps these characters had lived in Kasdan's head too long as a writer, and as a director, he was unable to get the performances out of his seasoned cast. Fresh out of school and with a father like Lawrence Kasdan to call in favors, movies can get made. Perhaps had Kasdan waited a bit before bringing this movie to the screen, the movie would have found its footing.
I'm not familiar with the box office on Zero Effect, but I do not recall the movie doing well at the time of release, and only rented it originally at the suggestion of someone else.
Kasdan's follow up efforts haven't been as serious in tone. He directed the dispiriting, laughless "Orange County" (a movie which seemed as if it was written by the most entitled priviliged kid for other entitled privileged kids.). It is telling, I think, that I left the theater before "Orange County" was over. We had technical problems with the film in the final reel, and rather than wait for the theater to fix them, we demanded a refund and left.
Kasdan also directed this winter's musical/ comedy "Walk Hard", which was funny when relying on the improv talents of the players and otherwise awkward and clunky, and certainly stretched on about twenty minutes too long.
Perhaps Kasdan had originally intended to write a comedy with Zero Effect. Perhaps he even believed that's what he was shooting until he got back his footage. Who knows? The movie begins on a an absurd note, suggesting some dark comedy... and abandons any humorous aspects about twenty minutes in before giving up and plodding to a finish.
My guess is that I am missing something here that has kept the film alive with a certain group of fans. But on a second viewing, there's still not much to pull me in. For a movie that seems to think it has some great characters, they seem derivative. For a movie that ostensibly is about deduction and detecting a mystery, the plot just isn't really engaging enough to really feel like the greatest challenge of the career of Daryl Zero, which it must be, lest why would the movie exist?
As someone participating in a round-robin of "Zero Effect" reviews, I'll be curious to see what others say.
I was going to close the post with something dickish about how the movie had "zero effect" on me. And that's probably still true. But, mostly, I feel the movie is forgettable, and has been largely forgotten. It's never a good sign when you realize upon watching a movie again for the second time that you have no recollection of the plot or characters from the first viewing. It's a worse sign when you are dead-certain mid-viewing that your brain may be erasing the movie from your memory before you've even finished watching it, and that's not going to help when it comes time for the big reveal.
Rather than try to remember a movie I hadn't seen in about 9 years, I picked it up from Netflix.
I admit that I wasn't a huge fan of "Zero Effect" when I saw the movie the first time. I definitely got that the movie was a modern-day Sherlock Holmes, with Bill Pullman in the role of Daryl Zero/ Holmes and Ben Stiller in the role of Steve Arlo/ Watson. While working, Daryl Zero has superhuman abilities of deduction and intuition. Off the case, he's a drug-addled lunatic who plays the guitar. Badly. Just as Holmes was supposed to play the violin and partake in a bit of, if memory serves, cocaine, the analog is pretty straightforward. And just as Watson was supposed to declare "by jove! How the deuce did you deduce that, Holmes?", so is Stiller put the position of being both impressed by his employer's abilities, as well as assisting him and representing him to the public.
And while I certainly wouldn't want a "modern day Holmes" movie, I wasn't sure what, exactly, Kasdan was trying to create. Was this Holmes through the eyes of the modern day detective movie? Or was it Holmes through the eyes of the son of a successful Hollywood producer?
The plot/ mystery of the movie is an excuse for the audience to meet Daryl Zero and Steve Arlo, and to challenge the status quo we're to understand they share when the movie begins. Should Steve Arlo give up his working relationship with Zero for the way it interferes with his personal life? Can Zero find love?
What starts off as an amusing premise never really works. The movie isn't funny, and I don't think it's intended to be so. So I'm not really sure what Kasdan was intending. Too much time is spent concerned with the quirky relationship of Zero and Arlo, and the mystery plot isn't necessarily engaging enough on its own to work as a feature film. Perhaps this would be a great pilot leading into a television series. Long story short, its tough to ever know what is supposed to be the A-plot of the movie, and what is intended to the B-Plot. Are we watching a movie about Zero and Arlo or the blackmail case they're supposed to be uncovering? Is this a standard case for them, or is this one particularly unusual?
Part of the problem is that Pullman is only occasionally convincing as an unhinged eccentric genius. Too much of the time, perhaps, he's on the case, and so seems together. Other shows, such as Monk or Psyche feature quirky detectives (Monk, most specifically comes to mind as an example of a detective program which is completely dedicated to the protagonist's psychoses). Prior to that, Columbo and others had been pretty wacky detectives working through convoluted plots. There's nothing here in "Zero Effect" to defy expectations. Instead, not a whole lot seems to happen. Character bits that are revealed skew towards the depressing, but with so little time to get to know Arlo and Zero, its tough to get invested. Pullman has never struck me as an actor of great range, and Zero Effect does nothing to erase that notion.
TV and movies are full of such characters, and drug-addled mood swings may look good on paper, but in a movie where we're given little room to feel sympathy for our leading man to begin with, profanity-laced binges don't really draw you in. Honestly, the idea seems like something lifted out of a completely different movie, as does the intentionally awkward "Zero plays the guitar" scene.
Ben Stiller's portrayal of Steve Arlo is hampered by stilted dialog he delivers mostly through clenched teeth. This would have been a post-"Ben Stiller Show" Stiller, but pre-Super Stardom from "There's Something About Mary" and the schticky groove Stiller would carve out with films like "Meet the Fockers". Honestly, I'd forgotten he was the Watson-archetype in this film, and raised an eyebrow in the first frames when he appeared. He more or less disappears going into the third reel, with one scene which resolves his character arc and a tacked on wedding scene to give our character an out at the end of the film.
Readers may recall that the Sherlock Holmes stories were told from the perspective of Watson in order to give the reader the same surprise the audience might feel upon hearing Holmes spout out an amazing deduction. However, director/ writer Kasdan switched the POV from Arlo to Zero somewhat abruptly early on in the film, taking away the exasperated amazement that Arlo might feel working side by side with an unknowable genius. In many ways, this gives the feeling that the screenplay was cobbled together from various parts of various drafts and that there's never any solid, single point of view to the movie. No doubt this was done to accommodate the scenes with GLoria Sullivan, which, by necessity to the plot, could not include Arlo. Unfortunately, this makes Arlo semi-redundant within the structure of the story.
For someone with so much screentime and who is supposed to win over Daryl Zero, Kim Dickens' Gloria Sullivan is a surprisingly dull character and never feels like the foil she's described to be in the film's final moments (I literally paused and thought to myself... "oh, yeah... I guess she did do all of that..." as Zero re-capped why he admired her so.). Ryan O'Neal is really the only other player, and so in a mystery such as this, there just really isn't much mystery to go around. But he pretty much plays Ryan O'Neal, if you're wondering.
Director/ Writer/ etc... Jake Kasdan would have been about 23 at the time of the film's creation, and that may account for a lot of the problems with the film. Too young, perhaps, to really realize he was recycling material. Mistaking drudging, monotone dialog for moodiness, and Dennis Hopper-channeling mania for Zero as "quirkiness", whatever humor he finds in the inconsistent pill-popping of Zero simply doesn't work.
Perhaps these characters had lived in Kasdan's head too long as a writer, and as a director, he was unable to get the performances out of his seasoned cast. Fresh out of school and with a father like Lawrence Kasdan to call in favors, movies can get made. Perhaps had Kasdan waited a bit before bringing this movie to the screen, the movie would have found its footing.
I'm not familiar with the box office on Zero Effect, but I do not recall the movie doing well at the time of release, and only rented it originally at the suggestion of someone else.
Kasdan's follow up efforts haven't been as serious in tone. He directed the dispiriting, laughless "Orange County" (a movie which seemed as if it was written by the most entitled priviliged kid for other entitled privileged kids.). It is telling, I think, that I left the theater before "Orange County" was over. We had technical problems with the film in the final reel, and rather than wait for the theater to fix them, we demanded a refund and left.
Kasdan also directed this winter's musical/ comedy "Walk Hard", which was funny when relying on the improv talents of the players and otherwise awkward and clunky, and certainly stretched on about twenty minutes too long.
Perhaps Kasdan had originally intended to write a comedy with Zero Effect. Perhaps he even believed that's what he was shooting until he got back his footage. Who knows? The movie begins on a an absurd note, suggesting some dark comedy... and abandons any humorous aspects about twenty minutes in before giving up and plodding to a finish.
My guess is that I am missing something here that has kept the film alive with a certain group of fans. But on a second viewing, there's still not much to pull me in. For a movie that seems to think it has some great characters, they seem derivative. For a movie that ostensibly is about deduction and detecting a mystery, the plot just isn't really engaging enough to really feel like the greatest challenge of the career of Daryl Zero, which it must be, lest why would the movie exist?
As someone participating in a round-robin of "Zero Effect" reviews, I'll be curious to see what others say.
I was going to close the post with something dickish about how the movie had "zero effect" on me. And that's probably still true. But, mostly, I feel the movie is forgettable, and has been largely forgotten. It's never a good sign when you realize upon watching a movie again for the second time that you have no recollection of the plot or characters from the first viewing. It's a worse sign when you are dead-certain mid-viewing that your brain may be erasing the movie from your memory before you've even finished watching it, and that's not going to help when it comes time for the big reveal.
Friday, January 25, 2008
Ways I could spend my government money
Unky George sees that we're falling on hard times. To help us through the hard times and the foreclosure on our homes, he and Aunt Nancy opened their purse and are sending us a check.
You and I could be getting $600 from the government.
How can I spend it?
Can I get a gun?
Three Petsafe Cat Verandas?
Six majestic eagle scuptlures?
An Adventurometer?
20 robots?
here's a list of items for $600
How should the League spend his $600? Assuming he doesn't just pay some bills...
You and I could be getting $600 from the government.
How can I spend it?
Can I get a gun?
Three Petsafe Cat Verandas?
Six majestic eagle scuptlures?
An Adventurometer?
20 robots?
here's a list of items for $600
How should the League spend his $600? Assuming he doesn't just pay some bills...
Thursday, January 24, 2008
You Should Be Reading: BLUE BEETLE
I was as bummed as the next guy when DC killed off Ted Kord in the event comic "Countdown to Infinite Crisis". And I think, in some ways, DC knew they'd kind of made a mistake. They'd finally put the spotlight on a character who was almost universally loved, but who had a hard time making it as anything but a supporting character. But certainly, the fanbase liked the character and wanted the possibility of having Ted in more stories.
Ted Kord as Blue Beetle was just fun. He was Batman with none of the trauma, cool gadgets and a fun pal in Booster Gold. What wasn't to like?
I'm happy to report that, in spite of the end of a great character in Ted Kord, DC's replacement wasn't just some half-baked replacement so they could put out a new #1 and temporarily lift sales. DC introduced a whole new concept with the creation of Jaime Reyes, a 16 year old living in El Paso who has merged with the Blue Beetle Scarab once owned by the first Beetle, Dan Garrett, and the second, Ted Kord.
I was originally skeptical. Both Marvel and DC had been trying to catch lightning in a bottle again since Spider-Man hit the scene with a constant stream of teen-agers with varying degrees of tragic backgrounds and mopeyness. The formula had never really managed to coalesce again, but that didn't mean teen-book after teen-book hadn't hit the shelves.
Jaime doesn't always handle all of the threats he faces with the calm, cool nerve of an action hero.
Blue Beetle tried something a little different. Jaime wasn't an edgy kid, he was a good kid who lived with his parents and had a fairly standard relationship with his folks. He even told them about his Beetle-powers right off the bat. Further, he had supportive friends, also in on the secret identity, and stayed in El Paso, rather than immediately getting shipped off to some other town that the writers might know better.
Perhaps because Jaime isn't moody or depressing, its a bit easier to believe he's tossed himself headlong into the superhero business with his family's support and a bit of fun rather than because he's suffering from crushing guilt.
Moreover, John Rogers has managed to tell a fairly expansive story without undue decompression, and after providing several pieces along the way, the story of Blue Beetle is finally coming to a head.
Beetle keeps good company. This issue featured Beetle and Superman visiting Austin, for which the artist had no references.
Honestly, if DC is looking for a property they could easily bring to other media, the latest version of Blue Beetle is it. The generational aspect of the character might be fun to explore, but I think audiences would also really respond to not-just-eager-but-uncertain hero Jaime Reyes. Throw in one of the best supporting casts in comics since Clark Kent met Lois Lane, and there's a lot there.
I don't know if DC and writer Keith Giffen knew exactly what they wanted to do for the first few issues, but when the comic was handed over to John Rogers and the armor changed from so weird it was thought to be magic to a sci-fi angle with global consequences, it's been one of the comics I pick up first from my stack every time it comes out.
I should also add that there have been occasional guest-written issues, and those have been fun as well. I think that already the character and his environment are well-enough defined that guest writers can step in and keep up the spirit that Giffen and Rogers have worked to define.
Check it out. Blue Beetle is a good read.
Plus, really, the armor is totally cool.
Ted Kord as Blue Beetle was just fun. He was Batman with none of the trauma, cool gadgets and a fun pal in Booster Gold. What wasn't to like?
I'm happy to report that, in spite of the end of a great character in Ted Kord, DC's replacement wasn't just some half-baked replacement so they could put out a new #1 and temporarily lift sales. DC introduced a whole new concept with the creation of Jaime Reyes, a 16 year old living in El Paso who has merged with the Blue Beetle Scarab once owned by the first Beetle, Dan Garrett, and the second, Ted Kord.
I was originally skeptical. Both Marvel and DC had been trying to catch lightning in a bottle again since Spider-Man hit the scene with a constant stream of teen-agers with varying degrees of tragic backgrounds and mopeyness. The formula had never really managed to coalesce again, but that didn't mean teen-book after teen-book hadn't hit the shelves.
Jaime doesn't always handle all of the threats he faces with the calm, cool nerve of an action hero.
Blue Beetle tried something a little different. Jaime wasn't an edgy kid, he was a good kid who lived with his parents and had a fairly standard relationship with his folks. He even told them about his Beetle-powers right off the bat. Further, he had supportive friends, also in on the secret identity, and stayed in El Paso, rather than immediately getting shipped off to some other town that the writers might know better.
Perhaps because Jaime isn't moody or depressing, its a bit easier to believe he's tossed himself headlong into the superhero business with his family's support and a bit of fun rather than because he's suffering from crushing guilt.
Moreover, John Rogers has managed to tell a fairly expansive story without undue decompression, and after providing several pieces along the way, the story of Blue Beetle is finally coming to a head.
Beetle keeps good company. This issue featured Beetle and Superman visiting Austin, for which the artist had no references.
Honestly, if DC is looking for a property they could easily bring to other media, the latest version of Blue Beetle is it. The generational aspect of the character might be fun to explore, but I think audiences would also really respond to not-just-eager-but-uncertain hero Jaime Reyes. Throw in one of the best supporting casts in comics since Clark Kent met Lois Lane, and there's a lot there.
I don't know if DC and writer Keith Giffen knew exactly what they wanted to do for the first few issues, but when the comic was handed over to John Rogers and the armor changed from so weird it was thought to be magic to a sci-fi angle with global consequences, it's been one of the comics I pick up first from my stack every time it comes out.
I should also add that there have been occasional guest-written issues, and those have been fun as well. I think that already the character and his environment are well-enough defined that guest writers can step in and keep up the spirit that Giffen and Rogers have worked to define.
Check it out. Blue Beetle is a good read.
Plus, really, the armor is totally cool.
FLILF?
With first Fred Thompson, and now Dennis Kucinich dropping out of the race for the White House, I am reminded of this Daily Show story.
Wednesday, January 23, 2008
I haven't been reading the news
I don't know when this happened, but I kind of quit keeping up with the news the way I used to. Certainly being unemployed and having basic cable, as was my lifestyle last winter, lends itself not just to reading the news a lot more, but you sort of think the news has more to do with you than it really does. Conversely, I think as busy as I usually feel these days, I see a headline and digest it in the time it takes me to read the headline, and never commit to actually reading the article.
Today I was checking the personal e-mail from G-Mail, and on my MyGoogle Page, I have a news ticker or three, and most of the headlines were about Obama and Clinton, or Heath Ledger, and then one said "5 Million Dead as Congo agrees peace deal". 5 million. I mean, I knew that... anyway. Upsetting, but that's not so much the point.
Add in the chaos in Gaza, and the twin stories of the economy slowing and Bush's steps to stimulate the economy, and there's a hell of a lot going on, and I don't really feel looped in. I hear about stuff like Heath Ledger, which is morbidly interesting, but I'm not taking enough advantage of the internets right now to keep up on the stuff that isn't showing up in my news tickers. I know that the tickers sort of funnel celebrity stuff to the top for click-throughs, anyway, but I'm not doing any real news browsing the way I used to, or I should. Most online news sources are free. I've got no excuse.
I'm not saying the dust up between the dem presidential candidates isn't news. It is. But it's also just the narrative of the week for the race for the White House. 5 million people. Mass exodus from Gaza. Just because its not effecting me and my drive to work doesn't mean I should retreat into funnybooks, my iPod and the latest episode of Ghost Hunters.
That's all. Need to read more. Read my subscriptions to Newsweek and Time.
Also, I need to go practice the bass.
Ya'll have a good one.
Today I was checking the personal e-mail from G-Mail, and on my MyGoogle Page, I have a news ticker or three, and most of the headlines were about Obama and Clinton, or Heath Ledger, and then one said "5 Million Dead as Congo agrees peace deal". 5 million. I mean, I knew that... anyway. Upsetting, but that's not so much the point.
Add in the chaos in Gaza, and the twin stories of the economy slowing and Bush's steps to stimulate the economy, and there's a hell of a lot going on, and I don't really feel looped in. I hear about stuff like Heath Ledger, which is morbidly interesting, but I'm not taking enough advantage of the internets right now to keep up on the stuff that isn't showing up in my news tickers. I know that the tickers sort of funnel celebrity stuff to the top for click-throughs, anyway, but I'm not doing any real news browsing the way I used to, or I should. Most online news sources are free. I've got no excuse.
I'm not saying the dust up between the dem presidential candidates isn't news. It is. But it's also just the narrative of the week for the race for the White House. 5 million people. Mass exodus from Gaza. Just because its not effecting me and my drive to work doesn't mean I should retreat into funnybooks, my iPod and the latest episode of Ghost Hunters.
That's all. Need to read more. Read my subscriptions to Newsweek and Time.
Also, I need to go practice the bass.
Ya'll have a good one.
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