Quick tip for fans of 'The Bear'

Hulu viewers have been diving into Season 2 of the startlingly good The Bear for almost a week now, and I have stumbled on an article that will delight and educate those of us who can't get enough of these high-end cooking techniques.  Small spoiler alert!

If you've been wondering about those little green ice cream logs that Marcus learned how to make in Copenhagen, here's the perfect how-to for you:

Lifehacker:  "How to Scoop a Quenelle Like a Freakin' Pro"

Just trust me:  this is a skill worth having, particularly because it's so versatile.  Find your favorite spoon and start scooping, people!  (And don't miss the rest of of the season.  I'm already primed for Season 3, darn it.)

Feuds, personalities... and acting

I've been re-watching Sex and the City on Amazon Prime.  I fully enjoyed this show in my thirties, and now that I'm getting older (and hopefully wiser), the re-binge is having a different effect.  I remember too vividly now how much Carrie's signature squeal ("Aaaah!") got on my nerves.  And now, the whole character shows far more flaws in the same kind of vivid detail.

What I'm most struck by, however, is that my own estimation of the actors has changed.  If you, too, have written off this show as fluff and sex and guest stars and little more, take another look.  Because as catchy and kitschy and clever as the scripts are, it's the portrayals that give this show real meat.  These characters are flawed, three-dimensional and fascinating because they're startlingly relatable. And the reason for that is... (drum roll, please) ... that the acting is downright impressive.

This show has been disregarded by too many. Even though "sex" is right there in the title and the fashion statements are abundant, there is nothing vapid about this project. The show is actually about people, love, and the relationships they're trying to navigate. Now that we know more about the people who made this show happen, and the feuds that have stoked tabloid headlines, the simple fact that casts are not always the best of friends reveals an interesting detail, and something I thought I would never type:

Kim Cattrall is a very good actress.

A little history:  I first became aware of Ms. Cattrall when an older cousin showed me Mannequin, the kooky magical comedy with her in the title role, and Andrew McCarthy as her hapless paramour.  (Now there's a guess spot we should have seen...)  It's a cute movie, but not great. Later, I saw a clip from Porky's, which wasn't terribly challenging -- her role is basically a far less interesting version of Samantha.  But the first real impressions of her acting chops were formed for me... by the MST3K "guys".  They absolutely skewered some of her earlier films, labeling her one of the worst actresses of all time. What can I say?  I was young, and I believed them. After all, they'd seen more movies than me.  (I suspect that's not true anymore.)

But let's look at it another way:  whether you're "Team SJP" or "Team Cattral" in the playground-worthy celebrity feud, there was obviously some serious tension on that set.  And far too many accounts indicate that Ms. Cattrall was persona non grata for much of the run, and certainly for the filming of both post-series films.  It doesn't matter whose side you're on. The very presence of that kind of tension, maintained over a period of several years, shows that these women deserve far more awards for their work on SATC.

Because the animosity never shows.  Not once.  They continued filming together, unlike others who allegedly forced producers, cast and crew to work around their lack of professionalism. These women, and the rest of the cast, soldiered on and made it look great.  We believed that they were friends.  We believed that they genuinely cared about one another. And considering the more recent rants on Twitter and Piers Morgan by Cattrall, that's more than impressive.

We've all worked with people we don't like, or who we've at least clashed with in one way or another. Hopefully, there's a way to work around it. I just hope we can all get the job done so gracefully.  And just as hopefully, we'll come out of it without the dramatic tweets.

Don't resist the thrill: 'John Wick' wins over the skeptic

He's the battered scapegoat for a plethora of bad jokes and pithy barbs of acting criticism, but I actually like Keanu Reeves.  It has long been suspected that he's far smarter than usually assumed, as if you pay attention, his acting shows moments that are finely shaded and thoughtful.  He may not be the most consistent actor on the planet, but the rampant criticism and Keanu-bashing has truly gotten out of hand.

Long ago, there was a period where I became fascinated with edgy thrillers, even gory violence, for the technical mastery required to pull it off. But while my tolerance was higher during that period, I can no longer handle a lot of violence and horror. Now that I'm staring middle age in the face, I apparently just don't have the stomach for the kind of images that cling to the subconscious and re-emerge as nightmares. So when I heard about this film adaptation of the highly respected gothic novel John Wick, I was intrigued by the plot, impressed by the cinematography, and was tempted by the beautiful production values so evident in the trailer. With the pending release of the sequel on February 17, I recently grabbed the opportunity to sit through the film, carefully reminding myself that I could turn it off if no connection took hold.

No chance.  I was drawn in from the start, not only by the heartbreaking story and stunning film work, but the dialogue, the surprisingly complex characters... and yes, the action sequences, which had me riveted.

It's a study in extremes, to be sure, replete with the sparest dialogue, the most dramatic lighting, the most luxurious sets, noirest costumes, thuggiest henchmen, and the cutest dogs.  (Spoiler alert:  don't get too attached.)  But almost everything has a flip side, as the most ruthless characters show much unexpected emotion and subtlety, and while those emotions may appear in explosive scenes, they are quietly expressed, making them more deeply and vividly felt.

The script, as mentioned above, keeps dialogue to a minimum, and thankfully avoids useless catchiness. There are no "Gotcha suckas!" moments, and catchphrases have a bit more style.  Wick wouldn't stand for anything else.

There are subtle details interwoven throughout, from the costume details that show exceptional good taste to the coffee table books in Wick's home that suggest culture, artistic sensibility, and thoughtfulness. (And thank you for that, as I now know who Alvaro Siza is: beautiful architecture, well worth knowing.)  The "business"-savvy doctor and concierge are well-drawn and stunningly believable. There are recurring elements such as the Boogeyman song and the use of the gold coins that help to create a world and drive the story forward with new familiarity. The film is a model of craftsmanship, and clearly the result of careful planning and a great deal of vision.

In the end, John Wick is a reminder that we cannot judge a film by its cover. While I had to set the side a bit of discomfort due to my own sensibilities at this time in my life, I wouldn't want to have missed this. It's an impressive piece of work.

Getting it right -- with some Dunst on the side

I've been MIA for a bit, as sometimes life really does get in the way, even for the most ridiculously committed hobby bloggers.  Never fear: all is well, and life's drama should remain on the screen for a little while.

I was pulled out of my reverie of overwhelm today, however, by a Tufts student's stream-of-consciousness rhapsody on an actress that has elicited from me alternating respect and head-scratching over the years: Kirsten Dunst.  Ms. Dunst is a good actress, and is at her best when her character is feisty, and a little unpredictable. Playing tweens and teens in Interview with the Vampire, the quasi-period Marie Antoinette and the unfathomably enjoyable Bring It On, her overwhelming personality and perkiness have served her well.  But now that she's been tackling portrayals of full-grown women for several years, she still has a few tics that smack too much of precociousness, and are often cloying for no character-driven reason.  Those tics worked in Cameron Crowe's Elizabethtown, and were balanced by a champion's laser focus in Wimbledon.  She has managed to transform herself more fully in excellent dramatic turns such as Mona Lisa Smile and Melancholia, which is one of the most profoundly beautiful films I've ever seen.  But the glimmers of cuteness can be distracting in otherwise compelling roles such as Eden in Upside Down (a film with it's own issues), or the pitiable Katie in All Good Things. Both of these are good films, for which she served up commendable performances, but we're never able to forget who we're watching.

Enough Dunstian analysis -- suffice it to say that I'm a fan, in spite of myself.  What I was drawn into earlier today was a frustrating post that showed little or no preparation and research, and didn't seem to have a purpose of its own.  It may have been a class assignment, or perhaps it was an extemporaneous musing. I contributed what I hope was a polite comment, and was careful to include the encouragement we all need.  For me, no piece is perfect, and my writing is always a work in progress.  This hapless young man certainly wasn't expecting feedback from the likes of me, and probably felt safe writing in the shelter of his college blog.

But while I feel confident that I've avoided ripping him to shreds, my ever-guilty self wonders: is it necessary or even useful to enforce standards of fact under such circumstances?  If we must blog, don't we have a responsibility to get the facts right, or is posing the argument good enough on its own?  For the record, I do believe that responsibility exists, or we're just filling the world with vanity and misinformation.  But really, why should I care if a college freshman's hyperbole gets away from him on a blog that I just happen to have tripped over in a spontaneous search?

I'd love to hear from readers, if you're inclined to discuss such cerebral ponderings.  Do facts matter? Must opinions always be framed in context and backed by at least some historical understanding, or have I made a mountain out of a molehill?  Are there no editors or advisors at Tufts?  When is it better to let stream-of-consciousness be what it is? Because blogs live such a long time, shouldn't there be some basic standard of quality?  Or is that idea just elitism run amok?

Ode to the great and powerful Oz (aka Frank)

Frank Oz

Frank Oz has built a career like no other.  While most people may know him for his iconic and unforgettable voices, it is his directing that rocks my world.  Of the fifteen films listed on Director tab in IMDB, full eleven (11!) are among my all-time favorites.  They are gems of execution, masterworks of timing and comedic mastery, timeless examples of well-executed artistry.

Yes, I wax rhapsodic.  But few directors have achieved such a consistent oeuvre, a body of work that is so varied and yet carries a distinct signature.  Chances are, you've seen at least a couple, and haven't realized that their auteur is also one of the original Henson troupe.  (For those who are wondering, no, he apparently does not direct on the set in the voice of either Yoda or Miss Piggy. We're not sure about Grover -- stay tuned for confirmation. ;-)  But take a look at IMDB's full list here, and take a gander at my personal top five to get you started.  We have the makings of an incredible movie marathon here...

Top 5 Favorite Movies Directed by Frank Oz

1.  Death at a Funeral

One of the most perfect films around.  We're talking about the 2007 original here, made in Oz's native England, and with an ensemble cast who all seem to have been born to their roles.  Coming from the romantic lead in Joe Wright's Pride and Prejudice, Matthew MacFadyen is marvelous as the slightly bumbling, beleaguered son who must run the funeral, face a scandal, solve one problem after another, and finally stand up to his mother, wife and brother in order to win the independent life he deserves. MacFadyen's IRL wife, Keeley Hawes, plays his spouse in the film, and the two are natural and seamless together.  As the crazily grieving widow, Jane Asher is a revelation. Watch for the wonderful Andy Nyman as poor put-upon Howard, Alan Tudyk for unforgettable naked comedy with heart, and so many other roles that stand alone and together:  Daisy Donovan, Ewen Bremner, Peter Vaughn, Rupert Graves, Kris Marshall, Peter Egan, Thomas Wheatley and just about everyone credited. Of this spectacular cast, it is only Peter Dinklage, in a role that is truly one-of-a-kind and indelibly played, who was invited to be part of Chris Rock's underwhelming and completely unnecessary remake just two and a half years later.  (What was Rock thinking?)

2.  The Score

A standout drama in the group, the stellar cast is led by none other than Robert De Niro and Edward Norton, who both give virtuosic performances.  This heist flick has plenty of twists, turns and obstacles galore, giving the grittiness a place to go, beyond any familiar formula.  There are also a series of very real relationships put to the test throughout the film, sparking more investment in the people than the titular "score".  It's nicely balanced, never boring, and avoids most of the usual we're-smarter-than-security formulas.

3.  Bowfinger and Housesitter  (Tie)

Yeah, I'm cheating.  But the magic of Steve Martin + Frank Oz makes it too hard to choose.  These two films also share an elusive aesthetic sensibility that makes them feel somehow related, in spite of the fact that they're so remarkably different.  The outright creativity of the scripts and the directing, coupled with the ongoing lying and on-their-feet thinking exhibited by the characters in both films, puts both casts' considerable gifts in the spotlight, and both come out shining.  They're both tightly wound, funny as hell, and just this side of ludicrous.  They work because you almost believe the capers would work, and the result is magical.

4.  What About Bob?

Bill Murray is at his best in this film, as the bundle of neuroses who follows his newfound psychiatrist on his family's vacation, cluelessly and systematically ruining their lives.  But as Bob's journey into sanity and a functional life is gleeful and fun to watch, it is Richard Dreyfuss, slowly unraveling and eventually going stark raving mad, who makes this film riveting and unforgettable, and Oz's stamp is all over the film.  Most directors would dive into the humor and thrash around in it until there was nothing left but a big, sophomoric puddle of nonsense.  Not him.  The film maintains that same unreal believability throughout, making Bob's actions seem almost reasonable. We end up caring about these people, who remain human amidst the chaos.  This is one of the hallmarks of Oz's work: the enduring humanity in the face of ridiculousness.  The result is exhilarating.

5.  In & Out

This underrated film was widely panned when it was first released in 1997, and its broad humor garnered criticism for contributing to gay stereotypes.  But there are those who stood by it, and a closer look shows that this is not gay satire, but a biting illustration of what "regular" people did to deal with gay issues at that time.  The cast is exceptional, with Kevin Kline in the lead and Tom Selleck stealing nearly every scene he's in.  The film showcases early work by cinema masters as well as young actors who are now established stalwarts:  Debbie Reynolds and Wilford Brimley are so good as Howard's parents, full of charm and anxiety and genuine affection. Watch for Lauren Ambrose, Alexandra Holden and Sean Hatosy, who shows particular shading in his struggle to accept his beloved teacher all over again.  Joan Cusack brings her signature brand of crazy, and looks absolutely beautiful, and Matt Dillon is funnier than he usually allows himself to be. Only Shalom Harlow wantonly overplays her hand. The real plot is in watching an entire town rethink what they believed to be true about themselves, best expressed in the wonderful scene when five old biddies are sitting around confessing secrets to make Howard's mother feel better:  "I hated The Bridges of Madison County..." And of course, the group rally at the end, an updated version of "I am Spartacus", is priceless. Be sure to stay through the end, as the final credits roll over shots that wrap up quite a few subplots.