Where's Devin O'Leary?
Starting with this issue of the Alibi, you may notice a distinct decrease in the amount of work coming from our normally reliable film editor, Devin D. O'Leary. Mr. O'Leary has neither died nor given up caring about his job. For the next five weeks, he will be on an extended sabbatical. He has shipped off to the Far East to teach an intensive summer course on Hong Kong film to a group of students from New Mexico State University's Creative Media Institute. While in Hong Kong, this group will be meeting with members of the local film industry, visiting famed filming locations like the Shaw Brothers' studio and viewing as many Asian films as humanly possible. By August, these students will return to New Mexico ready to apply all they've seen and learned to our state's growing film industry. By August, Mr. O'Leary will return to writing snide comments about Adam Sandler movies. (DO’L)
Journey to the Center of the Earth
The rocks aren’t bad
The success or failure of Journey to the Center of the Earth, New Line Cinema's $45 million, 3-D remake of Jules Verne's seminal adventure novel, boils down to one simple question: How do the rocks look? Seriously. Every single film focusing on caves, caverns and mysterious lands beneath the Earth's crust lives or dies on the realism of its rock-strewn sets. If they look like something off the first season of “Star Trek,” then the film is sunk before it begins. All the cutting-edge digital 3-D animation isn't going to make up for crappy papier-mâché rocks. So, how do the rocks in Journey to the Center of the Earth look? Eh, not bad. Considerably better than “Land of the Lost,” not as good as a visit to Carlsbad Caverns.
And When Did You Last See Your Father?
Yummy bowl of mush
At the risk of sounding unmanly, I have to admit I enjoy mushy weepers like And When Did You Last See Your Father?, at least every once in a while, in the privacy of my own home, blinds closed so the neighbors won’t judge me. Of course, not every mushy weeper is created equal. The Brits seem to have a knack for assembling this kind of irresistible schmaltz, and this oh-so-British movie nicely delivers all the prime elements.
Watching “It’s Always Sunny in Philadelphia” until my eyes bleed
I sealed my fate with the click of a mouse. Once I started watching FX’s “It’s Always Sunny in Philadelphia,” I couldn’t stop.
Week in SlothHighlights from around the dial. Except no one has dials anymore.