So here’s our first test of stop-motion animation with LEGOs. My son and I have grand plans to create our own alternate storylines. But given the difficulty in creating even this C-grade animation we may be scaling back our vision. Still, this is really fun.

Couple things:

• Lighting is the hardest part. LEGOs are shiny. Really need a diffuse light tent.
• Timing is the second hardest part. You can calculate shots per second, of course. But even then you have to be constantly doing math for dramatic pauses and such.
• iStopMotion is an invaluable app if you are interested in this sort of thing. Easy enough to do with a regular digital camera, but iStopMotion lets you use an iSight and leaves the last frame semi-transparent on the screen so you can see what you are trying to line up with.
• That’s a half-destroyed Hutt sail barge in the background.
• Shout out to Wilhelm.

The inspiration for this little family project was my son coming across the hardcopy of a flipbook animation I mentioned in this post years ago.

This is how things get done in Hollywood, so why not for the new Coudal film 72°?

“It’s always the sign of a good meeting when you decide to go grab a quick drink right after work and you wind up leaving the neighborhood bar at around 8:00.”

My god, what have we done?

Yesterday I watched two extremely disturbing movies, Open Water 2: Adrift and Jesus Camp. One was infinitely more troubling than the other.

Open Water 2 is a sequel only in that it uses the same premise as the first which is simply and completely this: people stranded in the water at sea. Horrible, of course, but this one tries to up the ante by plopping the bobbing humans into the drink right next to a yacht that they cannot climb back onto. Whoops, forgot to put the ladder down! Panic ensues. People die. But wait there’s more. Did I mention that there is a baby who’s been left on board the boat? And a monitor on deck that faithfully transmits her hungry, neglected wailing to the stranded floaters (including her parents) boatside? Sound awful? It is. Most movies of this ilk ask for a generous suspension of disbelief, but Open Water 2’s premise manages to be completely unbelievable yet still disturbing. I don’t recommend this movie if you are a poor swimmer, afraid of the water or being alone, a parent, or if you’ve ever been a child.

But the stomach-churn caused by Adrift pales in comparison to Jesus Camp, last year’s documentary about an evangelical summer camp for young Christians. I actually had to turn away a few times. Simply couldn’t watch as little kids trembled and cried and threw themselves to the ground for God. The adult organizers of this camp are truly scary as they prompt the kids into ever more ridiculous shows of their faith. The implicit — and a few times stated — impulse is that if the Muslim world is creating armies of mindless devotees in madrasas then Christianity best do it too. What’s so troubling is how mature these little kids act. Like they are reading from a script. There’s absolutely no shred of free-thinking or even childishness. And that’s the great shame: to be raised in an environment of such unquestioning dogma that the wonder and curiosity of childhood is not even an option.

I’d rather be the kid trapped on the boat, frankly.

Pardon the Al Bundy moment here, but I gotta say that reliving childhood via your own kids can be damn fun. Possibly my strongest memory of pre-8 year old life is watching the Superfriends cartoon (followed by Scooby Doo) with my dad in the basement on Saturday mornings. I loved the Superfriends intensely, so it was with some trepidation that I bought the recently released first season of The Challenge of the Superfriends for my five-year-old son. Trepidation because, of course, nothing ages well from the 1970’s. Or very little besides Pink Floyd. I didn’t want to load the DVD initially, afraid that’d I’d fracture a time-honed nostalgia that remembered the Superfriends as gallant, smart, and timeless.

Certainly the Superfriends is simplistic. The Legion of Doom’s goal is simply to spread evil and conquer the universe. Dialogue is overt and crude. And the whole thing is borderline racist with token ethnic superheroes that are clearly secondary to the main stock. And yet, I wasn’t disappointed. The storylines are suprisingly unique and clever. Yes, each episode starts with a new plot by Lex and friends (none Super) to overthrow the Hall of Justice with the Superfriends having always to react (how about some proactive justice, people?), but there was a lot of thought put into each episode’s twist. Time travel, summoning of the undead, alternate universes — the type of thing that was way beyond me as a kind but now strikes me as fairly interesting for a saturday morning ‘toon. And if the the recent upsurge in nightmares of my son is an indicator also fairly “adult” in content.

The real evidence of the value of The Challenge of the Superfriends comes from comparing the seasons that preceded it. Challenge was the first where they got rid of the awful, basically useless teen sidekicks and pets. You recall Wendy, Marvin (I’m sorry, Marvin the Superhero?), and their dog Wonderdog and of course the Wonder Twins and their annoying monkey Gleek, yes? Well, sorry about that. What a dark period that was.
Viva Green Lantern.

What are you doing reading this blog and not standing in line to see this movie?

UPDATE: So I got to see this movie about snakes. Believe it or not, they are actually in the plane, not on it. So you can imagine the problems this causes! Good fun. The movie was sublime perfection, everything I could possibly have imagined. Best part: the story doesn’t so much as imply a reason why a gangster would try to down a plane with a crate load of snakes. Plausbility is for the weak.

For some reason on my flight to Turkey I was compelled to watch not one but two thrillers that take place on an airplane. I’m not sure my seatmates were altogether thrilled.

Flightplan is more-than-decent. Jodie Foster is excellent as a mom on the verge of hysteria having lost her child on a massive new airplane clearly modelled on the double-decker Airbus A380. I can’t think of when I’ve seen Foster in a role coming apart like that. The suspense is remarkable given the oft-voiced point in the movie “how can you lose a child on an airplane?” And there’s a twist that only Sept. 11 could give us.

No less surprising was Red Eye, Wes Craven’s slow extrication from the horror genre he’s so comfortable in. Yes, you can make a compelling movie two-thirds of which takes place between two people sitting in plane seats. It isn’t as clean as Flightplan, but it has its moments and Cillian Murphy is perfect as a charming seatmate psychopath. Wes Craven does a good job substituting the latent fear of dying because a madman killed you in your dreams with the post-9/11 fear that you never quite know who you are sitting next to on an airplane.

Of course none of this matters. The countdown is on for Snakes On A Plane . You think losing a child on an airplane is tough? How about getting away from several hundred snakes? Kudos to the studio for merging title and plot synopsis in one pithy phrase — a sure sign that this will be a winner.

Also a tip: if you are watching a movie on your laptop when dinner arrives and you have a backpack, just prop it up between your knees. Take the laptop off the tray table and rest it on the pack, stabilizing it with your knees. Watch, eat.

I attended a taping of The Daily Show with Jon Stewart today in NYC. Great fun. Actually way more fun than I thought it would be. I guess I just figured it would be a little sterile in a studio setting, but it was actually funnier. For instance, I always assumed that the correpondent reports that are filed from “Baghdad” and “Washington D.C.” — obviously in front of a green screen — were at least done backstage or something. In fact, the correspondents are mere feet from Stewart on stage and watching his off-camera reaction to their reports is hilarious. Sometimes it felt like he didn’t know what they were going to say, though of course it is scripted and flowing past on the telepromters. The staff cracks up constantly too — and why not? Just great to see how much everyone enjoys the show. There’s a bit of a pre-show standup routine by a staffer that was really quite funny and then Stewart comes out to answer some audience questions. One guy asked Stewart how he felt about the fans who purchased the old show set on eBay and are touring around the country. He said he had not heard about it — which I find very hard to believe. (Thanks for the tickets, Matty!)

I had close to 48 hours of flight time while in and in route to China so I watched a bunch of movies, my full Netflix backlog plus a bunch of DVD’s I had ripped to my HD. I scored with House of Flying Daggers (though I didn’t love it quite like I did Hero) and Napoleon Dynamite (the dramatic power of a vacant teenage stare!), but oh did I bomb on my other selections. I don’t mind bad movies, movies who know they are awful and revel in it. But truly terrible movies try real hard and still suck.

You know you have a winner with a line like this: “For maximum damage we use bullets coated in a photon-accelerated luminescent resin. Cuts right through ’em.” For you laypeople, that’s a glow-in-the-dark bullet. Scary! Alone In The Dark was incomprehensible. It started with many paragraphs of written prologue, apparently because test audiences were completely befuddled. It didn’t help. And the funny part is that this movie derives from a game (never a recipe for success) and intends to provide the backstory to it. So when the backstory needs an explicit backstory you know you’re not telling the story right. Part Aliens, part Relic, part Night of the Living Dead, part Men in Black, with a silhouetted Top Gun love-making interlude and dashes of glamband hard-rockin’ video, Alone in the Dark isn’t comically bad (that’d be watchable) — it is irresponsibly bad.

Boogeyman wasn’t much better. When the one and only plot point of the whole movie is for a grown man to confront the fears from his bedroom of youth there just isn’t a lot of room for drama or even fear. The dark is scary. We get it.

Hide and Seek could have been decent. Dakota Fanning and Robert DeNiro do a pretty good job. But it is a plodding movie. The payoff twist at the end doesn’t offset the pain of making it there. Though seeing Elisabeth Shue shoved out of a second-story window is almost worth it.

One of the most popular posts on this blog was my copyright-unfriendly screenshotting of images of future Chicago from the movie I, Robot. I really loved the way the film layered future urban development into the current cityscape. I annotated some of the images and developed a map of where I thought the film’s main building, the U.S. Robotics headquarters, was located.

Well, turns out the special edition of the DVD just released contains a shot of a pre-production map (above) that the CGI team used when rendering Chicago 2035. I’ll leave the comparisons to those who care but suffice to say that I think they got the placement of USR HQ and Spoonerville wrong.

God help me if I am turning into the type of person who submits continuity errors to IMDB all day.