The Vampire Diaries: The Awakening & The Struggle

When handsome and elusive Stefan Salvatore arrives in the small town of Fell's Church, everyone takes notice--even blonde Queen Bee Elena Gilbert. Elena can't help but be drawn to the quiet stranger in her European History class. Fortunately for Elena, the attraction is mutual. Unfortunately for Stefan, he isn't the only Salvatore brother fascinated by the beautiful Elena and the town's initial fascination has quickly turned to suspicion after a string of people are attacked soon after his arrival.

A quick warning to the devoted fans of the TV show: the books are VERY different from the show. The first time I attempted to read this book it was hard to get into the story because it was such a departure from the series (ex. Elena is blonde, Bonnie is a redhead, Caroline is a brunette, and that's just the tip of the iceberg!). The second time around I started reading knowing that it would be very different and it was a much more enjoyable experience. The writing is very similar to L.J. Smith's other works--it's quick and fast-paced read. This is a book that someone could easily finish in a day or two. The writing is geared toward a very young audience (perfect for late elementary or early junior high) and for that reason, it can feel a bit patronizing as an adult reading it.

The edition that I read is the one pictured above and it has the first two novels in the Vampire Diaries series conveniently and compactly packaged together into one. Out of the two stories I preferred the first one which is entitled The Awakening. The story chronicles the very beginning of Stefan and Elena's relationship. It also talks about how Stefan and Damon became vampires in the first place (if you think you know all the details, you don't). The second story, The Struggle, was considerably less focused than the first. It lacked enough material to stand as a novel on it's own and in retrospect it became very obvious that its main purpose was to serve as a transition between book one and book three. 

Compared to the show, the book series worked at a much quicker pace. Things that have just happened at the beginning of the fourth season happened at the end of book two. Also, the first two books tend to focus almost entirely on Elena and her feelings for Stefan (and eventually Damon) while the show has more time to look at the stories of supporting characters like Caroline and Bonnie and Tyler. Although the book is almost always better than the film/television adaption, this is not the case in this situation. The television show takes everything great and fascinating about the book series and, with a little help from a fantastic writing team, creates an action-packed hour of entertainment each week with a more developed plot and more fleshed out characters. It also doesn't hurt that there are some very attractive men on the show as well.

In conclusion, the first two books of the Vampire Diaries series are both fun, quick reads. The TV show hasn't stayed entirely faithful to the books from which it is based--and, quite frankly, that's a good thing. Other than Stefan, none of the characters are well developed and the story seems to run out of gas halfway through the second novel. It is a light and easy read but if you want an entertaining story about vampires, witches, and werewolves tune into The Vampires Diaries on the CW.

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Hitchcock

Alfred Hitchcock's latest film, North by Northwest, was a huge success. But now what? Everyone wants him to make another North by Northwest but Hitchcock (played by Anthony Hopkins) wants to do something different, something bold and shocking. He stumbles upon the idea for his next movie when he reads Robert Bloch's 1959 novel, Psycho. Despite lacking the support of Hollywood executives, Hitchcock is determined to make this movie. His relationship with his wife, Alma (played by Helen Mirren), is tested as movie production begins to spiral out of control.

As a self-proclaimed history buff and film enthusiast, the chances were high that I would enjoy Hitchcock. It was a wonderful movie experience--easily one of the best that I've had in a long time. There is so much to love about this film, it's a little hard to know where to start. Ironically, Hitchcock--a film about the process behind the creation of one of the most iconic horror films ever--is, at its core, a love story. Although seriously lacking in the blood and gore departments, the movie does begin with a bang that even the great Alfred Hitchcock would not see coming. And, of course, I do mean this literally. Director Sacha Gervarsi successfully turns back the clock and creates a compelling and smart story thanks to the contribution of the costume, makeup, set, art departments, and of course the acting. It is not necessary to have seen the film Psycho or be familiar with Hitchcock's work to appreciate the film but I would be lying to say that this background information doesn't help. It was fascinating to get a behind-the-scenes peak at what goes on during the making of a film. The story wanders a bit as Hitchcock has conversations with the serial killer who inspired the novel (played by Miachel Wincott) in his head. It was a curious addition to the film but a little unnecessary.
  
The acting on the other hand was nothing short of outstanding. It would be a surprise--and a mystery--if both Hopkins and Mirren weren't nominated for Oscars for their respective roles as Hitchcock and Alma. While Hopkins psychical transformation on screen is more startling than Mirren's, both actors immerse themselves so effortlessly and completely into the plot and their roles. It was refreshing to see such a strong female character during a time period with such gender inequality and especially in such a male dominated field like directing and movie production. Mirren perfectly captures Alma's struggles on screen while not compromising her strength or her femininity. Hopkins portrays the legendary director as a complex  human being--both supporting and contradicting the dictatorial and obsessive caricature that is so well-known in pop culture.
     

 
The ending is a bit cliche but audiences will no doubt leave the theater with smiles on their faces. Hitchcock is certainly the most unexpected feel-good movie this holiday season and it is definitely worth the time and the money. Besides...it's Anthony Hopkins and Helen Mirren! Do I need to say more?

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FTC: I was lucky enough to attend a screening of Hitchcock before the movie was released. I have no affiliation with Fox Searchlight Pictures.

Don't Look Down

Lucy Armstrong has never directed a feature length movie before but she somehow finds herself on a movie-set with her lying ex-husband, her energetic niece, her lethargic younger sister, two unenthusiastic lead actors, and J.T., an attractive Green Beret. As if things couldn't get worst, Lucy learns that she also has to deal with a hungry alligator and Pre-Columbian green phallic stones [that claim to cure impotence]. Lucy must find a way to finish the shoot and keep everyone alive--while finding time to spend time with J.T.

Don't Look Down is Jennifer Crusie and Bob Mayer's first attempt at a collaboration. And to be honest, it feels that way. Their writing styles are synced--but it doesn't feel like a melding of two minds but rather like Mayer is mimicking Crusie's distinctive style. Adding a few paragraphs filled with military/tough-guy jargon every couple pages seems to be Mayer's only noticeable contribution to the novel. And even Crusie's up-beat, funny style seems a little dull in comparison to her other works and even when compared to her later collaboration with Mayer, Wild Ride. Crusie and Mayer have their moments of brilliance and humor but their accomplishments are overshadowed by their shortcomings.

To be blunt, the plot is more than a little unoriginal--girl meets tall, dark, and dangerous man; things blow up; all the good guys live happily ever after. But despite its predictability, Don't Look Down is definitely a confusing ride. The plot seems all-over-the-place and there are so many characters to keep track of that it gets overwhelming. But in spite of its faults, Don't Look Down is an entertaining read. Something to take on a long flight or borrow from the library. It is only so disappointing because Crusie and Mayer are dynamic authors in their own right and together they should be a firework show on the 4th of July.

While Crusie and Mayer might not live up to such [arguably] unrealistic expectations, Don't Look Down is fun read filled with action and romance. It foreshadows the amount of excellence that develops from Crusie and Mayer collaborations in the future--once they get the hang of it. Practice makes perfect.

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The Other Boleyn Girl

The Other Boleyn Girl is a historical interpretation of Anne Boleyn's (Natalie Portman) rise to power to become Henry VII's (Eric Bana) second wife and her fall from grace ending in her death in 1536. The film explores Anne's relationship with her family--most notably her relationship with her sister Mary (Scarlett Johansson) who was the King's mistress before his marriage to Anne.

This movie has received a lot of criticism since it was released--and I will not argue that most of it is not well deserved. Scarlett Johansson is a flat-expressioned, ice queen next to Natalie Portman. Although to be fair, it would be incredibly hard to be compared to Portman's performance...but Johannson brought underwhelming to a whole new level. In this film Portman exhibited the range and commitment that would later go on to win her an Oscar while Johannson's attempts to be coy and innocent are cringe-worthy and best to be forgotten. Although, again to be fair, Portman is given a more complex character to work with when compared to poor Johansson--who portrays the innocent and pure Mary Boleyn. Mary has no depth as a character and combined with many of the factors mentioned above, Anne wins over the audiences despite the fact that she's utterly power-hungry and willing to step on anyone who gets in her way. Portman's ability to create a sense of sympathy for her character makes it all the more heartbreaking when Anne's tragic fate comes to fruition.

The Other Boleyn Girl is a romantic re-imagining of Henry VII's marriage to Anne Boleyn. It is filled with historical omissions and inaccuracies to an extent that is almost down-right irresponsible. But there are not enough good things to be said for the visual aspects of the film. The clothing (especially the headdresses worn by the women) and scenic backdrop are decadent visual fantasies. And despite all the things that were wrong with this film--and there were a lot of things wrong with this film--there is something so compelling about a story of powerless people searching for some shred of power in their lives. There is a bit of the Romeo and Juliet affect in effect--the audience knows that this story will end badly but it is impossible not to root for these two young girls.

 The Other Boleyn Girl is a thinly veiled fictional story masquerading around as history. Portman does her best to keep the film afloat but average or lackluster performances from the rest of the cast and the obviously biased treatment of historical material keep the film from being an award-winning success. But even without critical success, The Other Boleyn Girl is an enjoyable story about a young girl who didn't understand the consequences of her search for power.

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Rise of the Guardians

Jack Frost (voiced by Chris Pine) is lost--and he has been for the past three hundred years. Ever since he woke up in a pond and the Man in the Moon told him his name, Jack has been searching for his purpose and hoping that one day someone could see him. Jack finally get his chance when he is picked to help the Guardians--Santa (voiced by Alec Baldwin), the Tooth Fairy (voiced by Isla Fisher), the Easter Bunny (voiced by Hugh Jackman), and the Sandman--fend off the Boogieman (voiced by Jude Law) as he tries to regain the power he lost after the end of the Dark Ages.

Rise of the Guardians is animated eye candy--the character design, the scenery, everything is visual perfection. No fault can be found in any of the animation. Even going beyond the visual designs, each of the Guardians has a unique twist that sets them apart from other interpretations. Santa is a tough burly Russian with tattoos. The Easter Bunny is boomerang wielding Australian. The Toothy Fairy has feathers and countless mini-fairies to help her with her work. And the Sandman is the short and silent type. Although the comparison has been made it warrants repeating, this movie is animated Avengers for the little kid in everyone who still believes in magic. This rag-tag group of people come together, despite their differences, for the greater good--to save the world's children from a world of fear.

Warning to parents about to take their kids to see this: although this film is only rated PG, there are moments in it that are surprisingly dark for a movie aimed at such a young age group. Also be wary because this film tries and fails to reach a level of Pixar-like magic with a great chunk of the film dedicated to moments that are obviously meant to be tear-jerkers. Based on my experience, many of the younger children [four or younger] lost interest in the film half-way through. But while they may not appreciate it now, they will as they watch every year as they grow up. Because there is no denying that in a few years time Rise of the Guardians will be a Christmas staple--joining the ranks of other holiday themed classics in ABC Family's 25 Days of Christmas and other programs like it. There will be no escaping this infectious and funny film. And I see no reason why you would want to. There have been rumors that there are plans to make a sequel--hopefully this is true and hopefully the sequel will be as original and exciting as the first.

Rise of the Guardians will surely be nominated for an Academy Award for Best Animated Feature but it will certainly lose to Wreck-It Ralph. Not for lack of trying but most certainly because Rise of the Guardians tried so hard to enchant and endear that it its efforts feels forced--even, dare I say it, formulaic. But as last remark I must as why was Chris Pine casted to voice a teenage boy? He does his best but he can't help but sound a bit old coming from the mouth of a boy who doesn't seem to have completed puberty.

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Guess Who's Coming to Dinner

Joey (Katharine Houghton) and John (Sidney Poitier) have fallen in love and plan to get married--after knowing each other for less than two weeks. When Joey takes John home to meet her parents (Katharine Hepburn and Spencer Tracy), they are met with shock and hesitation. John only has one day before he has to board a plan to go to Geneva but doesn't want to marry Joey unless they have her parent's complete support.

It will be impossible to walk away from this film without feeling like you've experienced something wonderful. Unlike the more recent remake starring Bernie Mac and Ashton Kutcher, Guess Who's Coming to Dinner doesn't treat the issue of interracial relationships as a punchline. Made in 1967, Guess was a film that pushed boundaries. To put this all into context, at the time of filming interracial marriage was illegal in 17 states and blacks had only received the right to vote four years earlier. America was strife with racial tension and this film was one of the first to depict interracial marriage in a positive light.

Hepburn would go on to receive an Academy Award for her role in this film and it is well deserved. She lights up the screen with her easy elegance and long-forged chemistry with Spencer Tracy. Tracy's speech at the end of film is easily the most heart-warming moment of the entire one hundred and forty-eight minutes. And as Stacy's last role--he died two weeks after finishing filming--it is one that he and his family can certainly be proud of. He plays the lovable but over-protective father to perfection. Tracy and Hepburn's long history performing with each other plays out wonderfully as they were able to portray a long-timed, happily married couple all that more convincingly.

Hepburn and Tracy were fantastic but this film has received its fair share of criticism. Probably in large part because of the racial tension in America at the time, the script writers made the young couple in the center of the turmoil almost too perfect. Poitier's character is a doctor, who graduated from a prestigious school at the top of his class, helps sick children in Africa, is polite, dresses well, doesn't want to engage in pre-martial sex...in a nutshell he's perfect. While Houghton's character is sweet, trusting, young and naive--almost too naive for a young girl growing up in America in the 1960's. Joey doesn't just believe that interracial marriage shouldn't be an issue--it shouldn't--but she doesn't even seem to think that anyone else will either. The audience isn't given a chance to get to know her and she can come off as ditzy and oblivious--she never once acknowledges the trouble she and her future family might encounter.

But despite the criticism, this is a film that should be appreciated not only for it's entertainment value but for it's cultural significance. It was bold movie attempting to break ground in a tumultuous time in America--and I would argue that many of it's messages are still relevant today. But political and social, this story at the heart is about love--now that is something that we can all understand.

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The Girl with the Dragon Tattoo

Henrik Vanger (Christopher Plummer) has spent the last 40 years searching for the murderer of his young niece. She disappeared one day and no one has seen her since but her murderer has continued to send Henrik a gift every year on his birthday. Mikael Blomkvist (Daniel Craig) has lost his life savings when he is sued for libel after he publishes an article about a wealthy businessman, Wennerstrom. After Mikael's fall from grace, Henrik decides to hire him to solve his niece's murder in exchange for evidence that would clear Mikael's name and send Wennerstrom to jail. Mikael soon finds that he needs assistance and enlists the help of young tech-guru, Lisabeth Salander (Rooney Mara).

This is not a film to watch in order to fill some time on a lazy Sunday afternoon. It is quite the emotional roller coaster--but in the best sense possible. The overall tone of the film is quite dark and somber. Each moment of the film is filled with an omnipresent sense of dread and anticipation. There is something oddly unsettling about knowing that something terrible is about to happen before it happens. The tone is very similar to another film based off Swedish source material--Let Me In. Both are stories driven by very strong female lead characters that are complex and alluring and dangerous. 

A large part of what makes this film so impressive was Rooney Mara's portrayal of Lisabeth Salander. Mara's performance was stunning. She was able to create a character that was as vulnerable as she is strong--it was an absolute pleasure to watch even during the most intense and disturbing moments of the film. Craig and the rest of the cast were fantastic as well but were at least slightly overshadowed by Mara's complete commitment to her role--physically and creatively. There cannot be enough nice things said about the level of acting in this film.

But the acting wasn't the only factors that contributed to the success of this film. The reading frame of the film's plot seemed a misplaced. The beginning and the end seemed like loose ends that are a bit unnecessary but they added to the overall feeling of the film. Both Lisabeth and Mikael are lost in their lives so it only makes sense that the film doesn't begin and end with a neatly tied bow. Everything from the costumes, to the setting, to the script helps make these characters and this story resonate so powerfully with audiences. It feels so real and honest. There are so many moments that are gritty and raw and repulsive and this film makes no apologies.

The Girl with the Dragon Tattoo is a bold film that separates itself from other films with its unapologetic approach to violence and storytelling. It isn't a movie for the faint of heart but it is a powerful piece that helps hit home the consequences and realities of rape and violence. The acting is superb under the careful hand of director, David Fincher, who was careful to tread a careful line between gritty and gory. It is a brilliant film--anyone who watches it won't soon forget it.

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Wreck-It Ralph

Wreck-It Ralph has spent the last thirty years being under appreciated. He is the bad guy in his video game but it seems impossible for people to see past his tough exterior after his is done for the day. He tries his best to fit in but his anger finally explodes one day. Ralph sets off into another game, Hero's Duty, in order to prove that he really is in fact a good guy. Along the way he finally makes the friends he's always wanted and single-handedly threatens the lives of every single video game in the arcade.

Wreck-It Ralph is the best time I've had at a movie theater in a long time. I was hesitant walking into the theater--mostly because I am not a terribly huge fan of any of the main voice actors and because I am still trying to recover from my disappointment after seeing Pixar's Brave this summer. Despite my hesitation, I was drawn to the theater because I wanted to see all of my favorite childhood video game characters on the big screen. And let me tell you, this movie is PACKED with references to "retro" video games and oddly enough, food. Although many of the references are aimed at people in their twenties--the first generation who grew up on video games--the film is just as enjoyable without understanding many of them. So adults and younger children don't worry. Some of my favorite cameos included Bowser, Sonic the Hedgehog, PacMan, and milk's favorite cookie, Oreos! Oreos--that's a reference that everyone can get.

The plot of the film was not what I was expecting. From the trailer, Wreck-It Ralph came off as movie geared toward stereotypical boys but after watching it I am convinced that it will appeal to girls just as much--possibly more! This film tackles the material in a very clever way and I will admit that the ending blindsided me. Which...is sort of embarrassing considering that this is, after all, a Disney film. But one of the most impressive features of this film is the  amount of time and detail the film makers put into creating three distinct worlds. The settings felt so real that it was almost as if this movie was revealing the secret life of video games--much in the same vein as Toy Story. Each world felt distinct but my only regret is that Ralph didn't do a bit more game-hopping so that I could see the rest of the arcade. Considering that was my only disappointment, I can easily say that this film was a job well done.

While on the surface, Wreck-It Ralph, seems like a vehicle for Disney to prey on our nostalgia in the modern era, it is a film that is equal parts humor and heart. The characters--both old and new--light up the screen and the material is handled in a way that is smart and respectful. I was not expecting much walking into the theater but on my way out I was impressed with what Disney had managed to create. This film proves that they are still the masters of creating new and engaging stories using other people's source material. Main point: if you have time this weekend, GO SEE IT!

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FTC: I attended a free early screening of this film. I have no affiliation with Disney.

Confessions of an Ugly Stepsister

Iris is famous but no one knows her name. She is better known as the ugly stepsister. After the death of her father, Iris moves to Holland with her mother and sister, Ruth. Struggling to survive in a new country, Iris and her family eventually find a place to stay with a wealthy merchant. He has a wife and a daughter that is known for her beauty, Clara--the girl that is better known as Cinderella. The world is familiar with Clara's tale but is there any truth to it? How did a girl from Haarlem become a princess? With the help of a fairy Godmother? Confessions of an Ugly Stepsister tries to set the record straight and tell what really happened that night at the ball.

Gregory Maguire is known for reimagining classic tales and giving them a more adult twist. He is well known for his novel, Wicked--which has had a very successful run through the novel's musical interpretation on Broadway. Confessions of an Ugly Stepsister has a brilliant concept but the story only has echos of the Cinderella tale that most of us grew up on. To be honest, it would be difficult to know that Confessions was based on Cinderella without the title and the backcover proclaiming it to be a reimagined fairy-tale. It can more accurately be described as a historical fiction novel about a young girl growing up in 17th century Holland. There is more talk about tulips in this novel than that of princes, balls, glass slippers, and magic combined.

Most of the story takes place long before the famous ball comes into play. Maguire spends most of the novel focusing on the three girls as children--which isn't as interesting as it would seem. Maguire is a talented writer. His writing is easy and engaging but he spends almost too much time focusing on points that don't propell the story forward. It makes the tale feel stagnant and muddy. And although Iris is the observant child and her tale is supposed to add more insight and depth to the fairy-tale we all know and love, I found this novel underwhelming. Maguire brought nothing to the fairy-tale that elevated the story. Clara--the Cinderella of our tale--seemed distant and removed. It would have been more interesting if Iris had gotten to know Clara more. What was Clara thinking when she became the "cindergirl"? How did Clara deal with the loss of her mother? What happened with Prince Charming in that room at the ball?

All these questions lay unanswered but Maguire spent pages upon pages writing about the tulip economic crash in the 17th century. It seemed as if he were more interested in that historical event and the fairy-tale influence was added later to sell more copies. Maguire changed the protaganist of the tale and that was his first mistake. Clara was the more interesting and complex character. Her background was mysterious and her motives were unpredictable. Iris was bland--watching from the sidelines more often than actively particpating in the plot. Even Ruth would have made for a more interesting protaganist!

Maguire attempted to give an old classic new life but instead, he made Cinderella into a tale about four unlikable women and two unlikable men--Caspar gets a pass because he is the true prince charming in this tale. Cinderella is bright and happy but this tale is rather depressing. It isn't a happily-ever-after ending but neither is it very an inspirational or literary. It tries to be everything at once and in the end fails to be anything at all--well, other than bland and long.

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