Rosenbush Cafe

The Existential Nilhist should be writing this entry to alert my legion of readers - Uh, Huh - that at some unknown point in the future Rosenbush Cafe will have a new publishing platform and a different appearance. (Editor’s Note: much changed since this post including upgrades, lost data, sabotage and rebirth, 3.25.09; and as if not bad enough most of 2006-08 was lost so for the past week from another move so I’ve been reposting, deleting and rewriting — 4.25.09)

I completed my first full year, having fired up the deep fryer November 28, 2006 and reopened an establishment that was demolished in the early Seventies. As the change from Movabletype to WordPress arrives I must assimilate new codes and information giving a different look to the Cafe.

I do not take this for granted after the years of caregiver for my mother, who died September 23, 2007 from complications due to Alzheimer’s disease, which is chronicled under the Cool Side of the Pillow category to the right of this text under Entrees. I will be adding to that category now that I am through the rudimentary stage of mourning; we Yahuda Buddahs are meant to move on from death and embrace both life and the cherished memories of the deceased loved one. I loved my mother and father enough to devote twenty five years of my life to taking care of both of them until their deaths.

It is now time to devote more time to my writing and photography and there is the novel I have been futzing with since the late eighties. I am conscious of how precious our minds are; the wonder of memory and the intricacies of the human brain. I did not take it for granted as much as other aspects of my daily life because my interest in the mind is an ongoing lifelong pursuit for knowledge. I am not concerned with all the answers, but just a few will suffice and you will be witness to my education as I in turn educate.

BEST PICTURE

“Atonement”
(Focus Features) A Working Title Production; Tim Bevan, Eric Fellner and Paul Webster, Producers
“Juno”
(Fox Searchlight) A Dancing Elk Pictures, LLC Production; Lianne Halfon, Mason Novick and Russell Smith, Producers
“Michael Clayton”
(Warner Bros.) A Clayton Productions, LLC Production; Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
“No Country for Old Men”
(Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production; Scott Rudin, Ethan Coen and Joel Coen, Producers
“There Will Be Blood”
(Paramount Vantage and Miramax) A JoAnne Sellar/Ghoulardi Film Company Production; JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

By El Cine Staff Writers

Writers may be on strike when the 80th Academy Awards airs February 24 at the Kodak Theater in Los Angeles. The Writers Guide of America has many writers making a mere $62,000 a year which is far more than most of us regular citizens make in several. Everyone wants a slice but no one wants to bake the pie.

Whether WGA will settle is differences with producers or shorten their writing assignments is anyone’s guess as most of these screenwriters are mere humans not psychics. Pity host Jon Stewart who is only funny with written material; imagine him without help trying to ad lib for 4 hours.

That may help rather than hurt; producer Gil Cates says the Oscars will go on as scheduled with or without the scribes and the many actors who have said they will not cross the picket line. Stewart would have plenty of ammo but when the strike ends his writers would not be so forgiving.

As for the performers: Don’t cross in solidarity but don’t complain when you win and lose the opportunity to pontificate before a captive audience. We would all love an Oscar telecast that is shorter than an episode of “American Idol.”

Considering how Oscar telecasts are notoriously over produced, too damned long and mainly the supreme example of what narcissists do when they have cameras trained on them for a worldwide audience we could do with some brevity. Oscars are another example of why the United States is so reviled; excess is on the display in the fashion department and all the diamonds could feed every starving human for years. I know how often I am embarassed by the actors and actress and their “Uhs” and “Duhs” when they have no script before them.

Sadly, for us, The Simpsons Movie was not nominated in the animated catergory; “Doh!” Luckily, Sean Penn - such a good actor to be such a putz - was snubbed this year, but Sicko is up for Best Doc and who knows how Michael Moore will react if he wins and then has to go to Cuba for an operation on his ego. His leftist drama queen buddy George Clooney is up for another golden statue but he needs to lose; it’s Viggo’s turn to win for his superb Russian mafia limo driver in David Cronenberg’s great but underseen Eastern Promises. Sorry, George but Viggo is the real actor this year. How are you up for anything, didn’t you get blown to bits in Syriana?

As a confirmed movie buff, I enjoy the art form but are rarely excited about the presentation of awards. Oscars are like the NFL, BCS, WS and NBA playoffs where it is rare the teams you wish to win do not and therefore I’ll tell you unequivocally, it doesn’t matter.

I would like the following wins and the rest can go collect unemployment:

BEST PIX: No Country for Old Men
BEST DIR: Ethan Coen and Joel Coen for NCFOM
BEST ACT: Viggo Mortensen for Eastern Promises
BEST SUPP ACT: Javier Bardem for NCFOM or Philip Seymour Hoffman for Charlie Wilson’s War
BEST ACTR: Julie Christie for Away from Her
BEST SUPP ACTR: Ruby Dee for American Gangster

Anyway, “break a leg,” as they say in the biz. Here are the nominees:
(continue reading…)

In 'Cloverfield,' New Yorkers examine the decapitated head of The Statue of Liberty after it has been hurled into the street by an unseen force

Reviewed by Henry B. Rosenbush
Spoilers after review

Word of mouth will propel this early 2008 event movie sparking discussions into its Blair Witch-style “found footage” motif as we watch a chronological first-person only point of view of an attack on NYC by a massive and ill-tempered monster. The dwindling group of twentysomething survivors venture into the city rather than escape to help a friend rescue his trapped and injured girlfriend. The first event movie of the year is certain to excite some and frustrate others and is clearly aimed at the youth market in the age range of the film’s cast.

The nation’s top movie critics are in concomitance; it evokes memories of 9/11, The Blair Witch Project, Godzilla, Them! and The Beast From 20,000 Fathoms, the technologically-dependent cell phone-camcorder culture and yes it can be considered tiresome, derivative, loud, subversive and psychologically gripping.

So why are you reading this critique? Go buy your ticket now!

While they are all correct in their opinions, and I concur with some of it, I think many reviewers missed the unique and profound subtext; at the heart of this 1950s Godzilla inspired large scale monster movie is a love story, a tale of hopelessness in the face of uncertainty and how self-preservation is often purposefully circumvented and transcended by unselfishness. While few will argue the technical aspects are anything but low budget, the film reportedly cost only $25 million which is amazing in the age where large scale action films are $150 million and north.

The 9/11 allusions are well founded in several scenes including one of a cloud of dust, from a collapsed skyscraper, ominously rushing towards a panicked crowd that descends upon both the characters and audience. You literally choke on the effect it so visceral and queasy in its execution. Crowds of terrified New Yorkers pause to photograph the decapitated head of The Statue of Liberty with cell phones and camcorders. This is the first sign of an attack larger than Radical Islamist Terrorists could muster. Falling debris, drifting sheets of paper and a driverless Central Park carriage, still attached to a beautiful white horse, escalate throughout the intense late May evening.

The monster itself is as gruesome as any recent large scale Godzilla nemesis and has an apparent distinct hatred for humans and architecture as it destroys everthing in its path.

Later scenes, in an adandoned store and inside a subway, shows evidence of other lethal creatures, a collection of swift arachnid crustacean hybrids armed with corrosive toxins that infect one unlucky femme character after she is bitten. Department store manikins are all headless and evoke a frightening fate for the unfortunate. The clickity clackity sounds the creatures make are unnerving sound effects editing and are well mounted.

The story proper begins with the well publicized printed governmental warning, as seen in the trailer, that we are viewing footage from Cloverfield, a name I never heard explained, but since it is formerly Central Park perhaps there were 4-leaf clovers there! If so, they were lucky for no one, and since we already know the footage is past tense we will only see what the camcorder recorded.

Another effective gimmick is that the footage we are observing was recorded over images from several weeks earlier and at precise dramatic intervals we see a couple, Rob and Beth (Michael Stahl-David and Odette Yustman) and for the opening minutes it almost seems like a cutesy teen eighties sex romp. There is an endearing quality to the footage and a genuine sense of two people who cared for one another. This crucial information is paramount, no pun intended, as later decisions made by Rob would have made little sense had we not known his strong feelings for Beth.

A group of young urbanites led by Rob’s brother, Jason (Mike Vogel) that includes his girlfriend, Lily (Jessica Lucas), semi-acquantance, the moody Marlena (Lizzy Caplan) and Hud (T. J. Miller), who will man the camera that films the bulk of the action. Jason convinces Hud to film testimonials for Rob, who in a nod to Godzilla, has been promoted and is moving to Japan.

We learn from Rob that the tape in the camcorder was important but he will soon have bigger concerns starting when Beth arrives with a new beau much to Rob’s chagrin. Making matters worse is an large rumble like an earthquake followed by a televised report of an oil tanker capsized near Liberty Island. With everything unfolding in real time we view everything chronologically. Soon after the report an explosion sends the revelers from the rooftop where they had congregated to view the distant disaster.

No sooner than they are on the street Lady Liberty’s head clips a high rise and bounces down the street. We soon view the cause of this destruction, a 200-foot tall creature from locations unknown with a monitor lizard type tale and an appetite for destruction unparalleled even in recent ‘Zilla offerings. A climatic, albeit, fleeting shot is perfectly positioned - and likely to be missed by many audience members - hints at the creature’s possible origin.

City streets are strewn with debris and the monster is at first obscured by buildings film goers get brief peeks. Since Hud is often running while filming the behemoth many glimpses are the briefest, but be prepared for many views of Neville Page’s brilliant design. One late scene struck me as the ultimate paparazzi revenge moment as the monster is revealed full frame and coincidentially not camera shy but supremely and lethally irritated.

The deaths are mostly swift and filmed so giddily at times that the gore is softened, obviously to secure the PG-13 Rating that includes some profanities but is mainly there for the violence and some truly disturbing images. The editing between the earlier April 27th footage with Rob and Beth during carefree times is a welcome relief from the non-stop parade of carnage and destruction.

Scenes of the military are both realistic and improbable; the mixture of varies branches - why are the Marines there and in improper uniforms? - and the quickness at which choppers and jets arrive on the scene in downtown Manhattan.

There are plenty of startlingly realistic computer-generated effects including the first view of the arachnids as they drop of the creature like drops of rain immediately attacking and killing the heavily armed infantry. With Hud filming a televised news feed off a big screen during an ongoing vandalized electronics store, where Rob has gone to find a cell phone charger, is horrific in its brutality and suddeness.

Another knockout scene involve a rescue attempt of Beth from her apartment building which is leaning against an adjacent structure that is eerily similar design as the World Trade Center. With the monster below and the concrete and steal shuddering is both exciting and frightening in its conception.

The choice of New York again as the battleground for a monster may seem overdone but what American city affords so many landscapes and architectural designs that look impressive when destroyed? Alanta does not have enough skyscrapers for the monster to hide behind; Miami and Boston have oceans but like LA is too spread out. The film makers all live in Los Angeles so perhaps the destruction of NYC is politically based, but who really cares, it is after all a movie and not reality. Producers J.J. Abrams (MI:3, TV’s Alias) and Bryan Burk do well with their aforementioned limited budget. Plenty of minatures and CGI for helmer Matt Reeves to chose from and after I Am Legend this is the second movie in a month to present the Big Apple with significants bites missing.

If you enjoy monster movies you will enjoy seeing how far movies have come technologically from King Kong, Godzilla, Gorgo, Rodan and the 1950s science fiction subgenres of radioactive creatures.

Expect this to be a successful DVD with opportunities to freeze frame and slo mo the action. Maybe then, with captioning we can understand what the character (sounds like Rob, off the recording) says at the end of the credits.

Kudos to Michael Giacchino’s Roar (Cloverfield Overture) over the end credits which evokes the bombastic musical style of Godzilla and other favorite monster movie scores.

All other tech credits are solid.

A Paramount release of a Bad Robot production. Produced by J.J. Abrams and Bryan Burk. Executive producers Guy Riedel and Sherryl Clark. Directed by Matt Reeves from a screenplay by Drew Goddard.

Camera (Deluxe color), Michael Bonvillain; editor, Kevin Stitt; production designer, Martin Whist; art directors, Douglas J. Meerdink, John Pollard (New York); set designers, George R. Lee, Jane Wuu, Chad S. Frey; set decorator, Robert Greenfield; costume designer, Ellen Mirojnick; sound (Dolby Digital/DTS/SDDS), Ed White; supervising sound editors/sound designers, Douglas Murray, William Files; re-recording mixers, Andy Nelson, Anna Behlmer; visual effects supervisors, Kevin Blank, Michael Ellis, Eric Leven; visual effects, Double Negative, Tippett Studio; special effects coordinator, David Waine; creature designer, Neville Page; stunt coordinator, Rob King; associate producer, David Baronoff; assistant director, Rip Murray; casting, Alyssa Weisberg.

Reviewed at the Hollywood 16, Tuscaloosa, AL January 18, 2008. MPAA Rating: PG-13 for Violence and Profanity. 1:25.

Cast
Marlena - Lizzy Caplan
Lily - Jessica Lucas
Hud - T.J. Miller
Rob Hawkins - Michael Stahl-David
Jason Hawkins - Mike Vogel
Beth Mcintyre - Odette Yustman

What’s Behind ‘Cloverfield’ Illness? Wave of Nausea Hits Moviegoers

By Michael W. Smith, MD
WebMD Medical News
Reviewed by Louise Chang, MD

Jan. 24, 2008 — Scan the news and blogs and not only do you see that Cloverfield had a record-breaking opening weekend, but there was an unforeseen side effect: nausea. And it didn’t come from the popcorn, or the writing — but the camerawork.
In Cloverfield, a giant monster attacks Manhattan. The problem — at least for those prone to motion sickness — is that it’s all filmed through a very jerky handheld camera.

This had led to reports of nausea and vomiting in theaters across the country. One theater chain has even taken pre-emptive action. AMC Theaters has placed caution signs in hundreds of its theaters around the country warning about possible motion sickness, according to the Los Angeles Times.

“I saw it this weekend and was so sick to my stomach that I had to leave the theater,” says Sara Butler, a WebMD programming manager. “I have a friend who’s an EMT in New Jersey, and she was called to several theaters this weekend to deal with people who were sick.”

While motion sickness is usually caused by plane, boat, or car movement, bumpy camerawork could definitely do it, too.
(Did Cloverfield make you queasy? What other movies have you seen that affected your senses this way? Talk about it on the Health Cafe board.)

What Causes Motion Sickness?

Motion sickness occurs when the brain receives conflicting messages from the inner ear, the eyes, and other parts of the body.
While watching Cloverfield, viewers were sitting still in their seats, so their inner ear was telling their body they were motionless. But the bumpy camera movements — and their eyes — misled them into thinking they were moving around erratically.
These conflicting messages to the brain lead to symptoms of motion sickness, most notably nausea. Other symptoms include vomiting, headache, and sweating.

What Is the Treatment for Motion Sickness?

Obviously, the best treatment is to avoid situations that make you sick. But if that’s not possible, there are a few things you can try. Also, if you’re prone to motion sickness, remember that prevention is best because once symptoms start, relief is tough to find until motion stops.
• If you love cruising but it doesn’t love you, choose a center cabin where there is less movement.
• On a boat or ship, stay on the deck and look at the horizon.
• In an airplane, sit near the wings.
• In a car, sit in the front seat and look through the window. Don’t read or focus on an object inside the car.
• Drive, don’t ride. Drivers are less prone to motion sickness.

Motion Sickness Medications

Medications can be used to suppress the conflicting brain messages. No matter which type of medication you choose, it works best if taken before motion.
• Antihistamines, such as Benadryl, Antivert, and Dramamine, can prevent motion sickness. The main side effect is sedation. Newer, nonsedating antihistamines, such as Claritin, do not work for motion sickness.
• Scopolamine is most commonly used as a patch that’s applied every 72 hours. The main side effect is also sedation. For many people, scopolamine appears to be the most effective treatment and may cause less sedation than antihistamines.
• Phenergan relieves nausea and is used to prevent and treat motion sickness.
• Caffeine has been shown to help relieve motion sickness when combined with Phenergan.

Alternative Medicine for Motion Sickness

In one study, 1 to 2 grams of ginger relieved motion sickness in naval cadets. Acupressure has been shown to be effective for motion sickness in some. Though magnets have been touted for relieving motion sickness, there’s currently no proof to suggest they’re of any benefit.

© 2008 WebMD, LLC. All rights reserved. ©2005-2007 WebMD, Inc. All rights reserved. WebMD does not provide medical advice, diagnosis or treatment

SPOILERS: If you do not wish to know anymore about this movie and prefer to be surprised read no further

When Marlena is attacked in the subway by one of the arachnids, there is no doubt she will die. In what alludes to an Eboli style bleedout that is thankfully brief, using a opaque screen behind which soldiers have taken her after learning she was “bitten”, so as to not to infect others in the makeshift hospital. Decide for yourself: whose head explodes, Marlena’s of one of the soldiers. It’s quick so be ready.

Did the oil tanker get capsized by a falling object from space? Is, in fact, this creature from outer space? The film is intentionallly bereft of explanations opting to go with unresolved issues, including as to whether the miltary’s option - to vaporize Manhattan - succeeds. The creation was a mixture of lizard, dinosaur and underwater hybrids while the smaller creatures owe their look to the Alien facehuggers, only larger and faster! In fact, the main head of the monster has a similarity to H. R. Giger’s original Alien head, but less phallic.

The death of Hud, the least likeable character, mainly due to the fact he is an sarcastic and uncaring, is the one example of giving the audience someone who says profane things to other characters. Marlena’s fate is in no small part due to her saving Hud, who makes some snide remarks later that are verbalized in a low vocalization but when heard are horrific. This particular scene is well done but wholly ridiculous; no way all four escape from the horde of arachnids in the subway tunnel, but since this film kills off characters one at a time - like many ’80s stalk and slash flicks - we have to wait for near the climax to cashier Hud.

His demise, in the mouth of the main creature, is certainly the scene to savor since this is the audience’s best look at the monster and what an ugly, ill-tempered beastie it is.

Say goodbye to Hud.

The ending, which is sort of the beginning, similar but not as good as Christopher Nolan’s Memento, shows us the expected, but poignant fate of Rob and Beth and while it may not cause tears it does nicely tie together their particular story strands.

Biancho Banco Kittery, of the Maine Kitteries, and brother of catidate for President, Calico Guggenheim Kittery, of the Maine Kitteries, was far less interested in the slight blanket of snow that fell today. It was gone quickly but Biancho, who has been estranged from his sibling since she changed parties in 2004. Although he is now an Independent, Biancho calls allegations his sister started the rumors her opposition is racist “Preposterous, Cali has faults like anyone but she has never been a bigot. She will make a purrfect primary winner and who knows. I think she should team with Black Maria and double the black vote. There will be more black cats voting than in history and this is historic. The White Lover Cat continued that, “If you are looking for blame, look towards the PubCats, they are gearing for a campaign that will make my litter box smell like Rosemary.”

Snow came and went today in West Central Alabama; at the time of this entry (430ayem) it was predicted at 1-4 inches for later this morning but alas this is the deep south. The Fahrenheit increasingly descended with sleet and rain before a light blanket of snow came from 7-1030 ayem and we opened the Cafe at 9 instead of 11. We are still serving coffee, hot chocolate and assorted loose teas with Bagels and Lox with Creme Cheese, doughnuts and homemade Apple Strudel. and many more delights for the taste buds.

While you are enjoying a brunch of Clam Chowder and Stewed Chicken enjoy our free WI-FI. Sunday read my review of Cloverfield, which I enjoyed for reasons overlooked by other critics. Even with the deficiencies inherent in the daring first person limited narrative leitmotif combined with the monster on a rampage in New York City storyline.

Sunday, The Obsessive Collector examines the clever marketing strategies graphic artists and record producers utilized in the wild, wild seventies. We will examine, among many others, H.G. Giger’s esoteric Alien-inspired cover from Emerson, Lake and Palmer’s Brain Salad Surgery;Cheech and Chong rolled Big Bambu and deliver a smoking LP; Alice Cooper and Grand Guignol; Albert Brooks spoofs radio formats and ends with one of the best and least known kickers of any album; and Hipgnosis and the surreal touch, Utopian Todd journeys to the label and side orders of Spinach, Pot Liquor and Crow; without the bitters, thank you very kindly.

The Cat Caucus Catastrophe Covered

Our purrfect reporter, Kitsya Coy, analyzes the January 7th meeting of Democats and Republicats that started smoothly but ended uncharacteristically counter-productive. With no clear leader among the Pubcats, DemCats look poised to reclaim The DC Cathouse after a rousing closing night speech from leftist front runner Calico Guggenheim Kittery, of the Maine Kitteries, who proclaimed:

“We have seen the last of the fat cat spending, felonious felines and promises of better nip but all the Pubs have given us is recession, depression, regression and indigestion. Well, my fellow kitties, their reign of conservative demagoguery is over. Let us together cough up that hairball of Republicataclysm and shed the hairs of right wing tyranny.”

All the while, the Pubcats napped much as they did throughout their eight year administration. The sound of screeching and nip-infused mewing led to merriment before an unregistered Orange Roughie, thought to be a PubCat plant, began circulating rumors of Black Maria, the former far left, now moderate DemCat second catidate, was a racist against black, white and orange cats. The resulting melee was seen first paw by Kitsya Coy who will give us the whole story.