Cinematical

Can everyone guess where I am right now, and what I'm doing? I'm very thankful that the New Orleans airport has free wireless available while I wait for an airplane crew to show up for my flight, so I can return to sunny Austin. In the meantime, I have a laptop and Internet access and a stack of DVDs to watch. I am prepared. I can watch movies indefinitely if necessary, especially if I can get Hulu or Netflix's Watch Instantly cranked up.

I have a few suggestions for packing / purchasing / (legally) downloading movies to watch on your laptop or other device in an airport or on a plane. Pick at least one or two movies that are old familiar favorites. Sometimes when you're stuck in a terminal with poor food choices, a "comfort movie" can be your very best friend. In addition, I find it difficult to listen clearly to movies on an airplane or even in a noisy terminal (you don't want the sound too loud, so you can hear updates on your flight's delay), so it's best to pick something where you already know what's going on and don't need to catch every last nuance of dialogue. Big goofy action films and physical comedies have an advantage over talkier films where you have to pay attention.

In compiling this list of specific recommendations, I tried to avoid the overwhelmingly obvious choices for watching movies in airports -- personally, I don't want to watch disaster films at times like this, or even spoofs of disaster films like that timeless comedy Airplane. The Terminal and Snakes on a Plane also a little too close for comfort. I thought instead of lighter fare, with scenes that emphasized the fantasy world of airline travel, good or bad, and the magic of escapism. Next time, I'm tucking a few of these in my laptop bag myself.

Last year I saw Gracie, a movie about a teenage girl who wants to play high-school soccer in the late 1970s, when the game was considered a males-only sport in America, and faces a lot of opposition from her school. I finished my review with the line, "If it were football, would we be agreeing more with Gracie's opponents?" The Longshots gives us the opportunity to consider that question. Can we sympathize with, and cheer on, a girl who wants to succeed as a quarterback in an all-boys' football league? The answer is yes, because The Longshots focuses on characters and personal relationships and as a result, feels richer and more satisfying than the standard sports-genre film.

The story is simple and except for the girl-quarterback angle, old-fashioned in a Capra-esque way. Jasmine (Keke Palmer) is a middle-school loner and misfit in a small town hit by economic troubles. Her mom Claire (Tasha Smith) has to work longer hours at the diner -- dad ditched town and family several years ago -- and Jasmine is still too young to be left alone after school. So Claire pleads, nags and finally bribes her husband's brother Curtis (Ice Cube), an unemployed ex-football player, to keep an eye on his niece Jasmine. Of course they can't stand each other at first, but eventually Curtis discovers that Jasmine has an excellent throwing arm and teaches her how to be a quarterback. Meanwhile, the town's playground football team is languishing, and one thing they're missing is a decent quarterback, sooo ...

We're well into August, and here in Austin it's hot and dry and the last thing most of us are thinking about is anything going on next March. But over at SXSW, they're ignoring the dog days of summer and preparing like crazy for next year's interactive, music, and (of course) film festival / conference. The 2009 South By Southwest Film Festival is scheduled for March 13-21, as you can see from the new site for next year's festivities, and you can start submitting your films now for consideration. You've got until December to get your short or feature film to the festival if you're dreaming of seeing your name in lights (or at least your film's title) at the Paramount next year.

A few films are already scheduled to be screened at the 2009 fest: the SXSWclick winners, which were recently announced. The Grand Jury award for the short-film contest went to Peter and Ben, by Pinny Grylls, which also won in the documentary shorts category. Little Pumpkin, directed by Tiffany Bartok, took home the Popularity Contest award. You can watch these films and the winning shorts from all categories on the SXSWclick site. In fact, you can watch all the finalists online if you like. So if you want to pretend it's March in Austin, crank up the air conditioning a bit, sit back in a comfy chair with a beer or milkshake (in tribute to Alamo Drafthouse, a favorite SXSW venue), and enjoy the SXSWclick shorts. Then hike a mile back to your car with Scott Weinberg or Will Goss next to you, scarfing down hot wings from a Sixth Street bar and speculating on how many screeners they can watch that night before they pass out from exhaustion. (Okay, maybe you do have to wait for March for that last experience.)

I figure I'm about 20 years older, at least, than the target demographic for The Sisterhood of the Traveling Pants 2. I understand that there are some movies where I'll always feel a little old or out of touch, because they're just not made with me in mind, no matter how good or bad those movies are. Fortunately, I had no trouble empathizing with the four young women who are bound to friendship through their magical bifurcated nether garment -- more so than I did with the Sex and the City gang, who are much closer to my age.

Like Sex and the City, Sisterhood of the Traveling Pants 2 works better if you know the characters already through their previous appearances, because you're already emotionally invested in them. I hadn't read the young-adult novels by Ann Brashares, but my sister, who is a big fan, filled me in and we determined that this movie is based mostly on the fourth book in the series, with a few changes, so even if you've read the books you get some surprises.

The other day, a blog entry from the cinetrix about "The Rule" evoked a flood of memories from my love-movies-hate-the-patriarchy college days. In 1989, my then-roommate's then-girlfriend showed me a comic strip from the series Dykes to Watch Out For by Alison Bechdel. The strip was called "The Rule" and it was about a character who explained that she only went to movies that met three criteria:

1. Two of the characters had to be women --
2. Who talked with each other --
3. About something other than a man.

Read the original strip for yourself. At the time, "The Rule" had a big impact on my life -- it explained a lot about what I found lacking in movies. I wanted to watch strong action heroines, but I also wanted to see movies with women who talked about ordinary stuff that didn't involve boyfriends or husbands.

I haven't seen the previous two movies in the Mummy series, although people have recommended them to me as rollicking old-fashioned action-adventure movies, from the same Saturday-afternoon-matinee roots as the Indiana Jones series -- not exactly brain teasers, but good silly fun. The good news is that if you too haven't seen the preceding movies, you can watch The Mummy: Tomb of the Dragon Emperor without fear of getting confused or lost or not understanding the recurring characters. The bad news is that regardless of whether you've watched the other films, the third Mummy entry is a headache-inducing mess that piles on unimpressive special effects to stretch a slight and often incomprehensible storyline.

The movie begins with an extended backstory: the history of the Dragon Emperor from thousands of years ago, in which a ruthless tyrant (Jet Li) bargained with an infamous witch (Michelle Yeoh) in his ambitious drive to seek immortality. The backstory, narrated in a manner befitting the History Channel, goes on for far longer than necessary. (Hellboy II did this so much better and faster, and with cool puppetry too.) It's a full 10 minutes before the story begins and we encounter the leads from the previous Mummy films, Rick O'Connell (Brendan Fraser) and his wife Evelyn (Maria Bello this go-round), who have retired from the action business and are trying to lead humdrum lives in the English countryside.

I'm slightly mistrustful of titles that include exclamation points. They always remind me of the musical version of The Elephant Man, Elephant!, in The Tall Guy ("... there's an angel with big eeears..."). But in the case of Mamma Mia!, I'm actually surprised the title only included one exclamation point -- you can imagine the filmmakers or the creators of the stage version embracing even more emphatic punctuation, just to let you know that This! Is a Musical! And also Wacky!! As if chorus lines of men in flippers, Meryl Streep waving a feather boa, and enough ABBA music to sate the leads of Priscilla, Queen of the Desert wouldn't have clued you in.

The movie, like the stage musical it's adapted from, is essentially and unabashedly an extended gimmick -- an excuse to sing and perform songs that originated from the Swedish musical group ABBA. Characters spontaneously burst into song not because they're aspiring performers (Chicago), or because their singing is meant as a melodious soliloquy (Sweeney Todd), but because the situation or their emotional state reminds them of an ABBA song (sometimes more tangentially than others), and they decide to share it with everyone. I've had friends like this in real life, although that seems to have been a college-age thing.

Imagine one of the Star Trek crews transported to Tolkien's Middle Earth, or Buffy and her Scooby gang whisked away into the heart of Narnia. That's how Hellboy II: The Golden Army can feel, as you watch a cartoonish-looking, cigar-smoking demon fight gorgeous creatures right out of ancient folklore (and one Miyazaki-esque nature deity). Your reaction to such a contrast -- as fascinating, jarring or downright repellent -- will likely influence your feelings about the latest film from Guillermo del Toro, a sequel to his 2004 adaptation of Mike Mignola's graphic novels. The writer-director's previous film, Pan's Labyrinth, was a favorite of mine, and while Hellboy II doesn't quite measure up to that film's richness of character and story, it is still visually extraordinary.

I came into this film entirely ignorant of the Hellboy universe ... much like with Sex and the City, although it seems bizarre to compare Mignola's characters to Candace Bushnell's. I haven't read the graphic novels and I hadn't even seen the first movie (it was impossible to find a rental DVD of Hellboy in Austin last week, which may bode well for the popularity of the sequel). And yet, unlike Sex and the City, I didn't feel as though I must have missed something in order to fully appreciate the film. Hellboy II gives us virtually no backstory on its main characters, but that's not necessary, as the setup becomes obvious almost immediately. Sure, there were a few scenes where the comic-book fans were laughing and I didn't get the joke, but it didn't bother me and I never felt lost or confused.

A couple of weeks ago, I ordered a Netflix Player by Roku -- a little box that lets Netflix subscribers watch the company's video-on-demand selections on a TV set. We already had a media computer hooked up to our TV, but it runs on a Linux platform so we couldn't use it to Watch Instantly on Netflix, which is Windows-only. The Roku player was priced at $99, which is a little steep for a gamble on whether the quality would be acceptable and whether we could make it work with our increasingly bulky TV/media setup, but we decided to give it a shot.

The box, which is about the size of a large paperback, arrived last weekend while I was at the farmers' market, and by the time I returned with tomatoes and peaches, my husband had hooked the box into our TV setup and activated it through our Netflix account. He tells me this was a very easy thing to do, although we're talking about someone who spent time the night before creating a fancy diagram of our devices and cabling input/output so he'd know exactly where and how to hook up the Roku box. (We also have a digital TV tuner, two DVD players, a VCR, and the media computer.) Here are the ups and downs we've discovered so far about the newest addition to our home's TV/media setup.

The movie Be Kind Rewind is being released on DVD today. Even if you didn't see the movie, you probably remember the delightful trailer, in which Jack Black and Mos Def shoot their own low-budget, low-everything versions of blockbusters like Ghostbusters and Driving Miss Daisy. In addition, another movie about the joy of making movies is still playing in some theaters -- Son of Rambow, where two boys are inspired to shoot their own version of Rambo complete with flying dogs, nursing-home residents bribed as actors, and a fabulous French exchange student.

I can think of dozens of enjoyable movies about moviemaking (and a few clunkers, but we'll ignore them for today). But I decided to focus on seven of the most characteristic films. I didn't include films about screenwriters, because I think those would be fun to list another time, or films about moviegoing like Cinema Paradiso. Instead, I focused on the inspired and sometimes crazed filmmakers. Afterwards, you can tell me which of your favorites I left off the list.