During the emotional roller coaster that was the Intervention marathon Maria and I watched last night someone slipped in a trailer for the new movie Devil, out in theatres in a couple of weeks. It was a short trailer, I wasn’t even really paying attention, but we did both pause and take note when the name “M. Night Shyamalan” whipped across the screen.

Shyamalan is one of my favourite writers/directors working today and so, since I follow him pretty closely, I was totally surprised to find that he had a new film coming out. Well, not exactly. As it turns out, Shyamalan was involved in the film only as far as the story concept goes. He came up with the idea, but that’s about it. Still, I like the way he thinks and all of his films in the past, as far as I’m concerned, have had really interesting stories at the heart of them so I’m excited for Devil. But let me tell you why I’m a bit frustrated too.

The concept behind devil—the concept that Shyamalan came up with—is that a bunch of people are stuck in an elevator on their way to work. One by one, they begin dying, and someone in that elevator is responsible for killing them, one of them is the devil himself.

It sounds like an interesting concept, but of course Shyamalan is going to get some flack. Sometimes I wonder if he isn’t the (amateur) movie critics whipping boy..

As soon as trailers for Devil trickled out of the production house the press dug up that same tired old line, “It might be a good movie, but I bet it has a twist ending.”

Ah, the good old twist ending. That style of film-making and story-telling that M. Night Shyamalan is infamous for. Well, the press say, he better work hard to dig himself out of that whole, he better finally make a movie without a twist ending.

And I roll my eyes clear out of my head.

Now I don’t want to confuse being a Shyamalan fan with being a fanboy, a fanatic, or an apologist. I am none of those things but I am tired of hearing the poor guy get flack for widely help misconceptions and poorly-researched assertions.

It is incorrect to say that all M. Night Shyamalan films have twist endings. It’s incorrect to say that he really needs to redeem himself from that plot device and come up with something new.

A quick look at his film-making resume from the past ten or so years is revealing:

- The Sixth Sense (Twist; he’s dead)
- Stuart Little (No Twist; we knew he was a mouse all along)
- Unbreakable (Small twist; you’re a superhero and he’s your nemesis)
- Signs (No Twist; we knew they were aliens)
- The Village (Twist; it’s the 21st century, better buy a new wardrobe)
- Lady in the Water (No Twist)
- The Happening (No Twist)
- The Last Airbender (No Twist)

Basing our conclusions on actual research (i.e., I looked at a list of films he’s made) it’s clear that less than half of his movies feature twist endings. But why does he still receive so much negative attention over it? Why does he have to redeem himself with a film like Devil?

As far as I’m concerned Shyamalan does a great twist ending, he’s a clever writer and director, but it isn’t the only thing he can do. He’s proven himself as a competent film-maker time and time again. While I didn’t see The Last Airbender (I think it’s a film for kids) both The Happening (an intentionally-crafted B-movie) and Lady in the Water (a fairytale) were pulled off very well. And no twists.

From what I’ve seen so far Devil looks like it’ll be a pretty good film. It’s a cool concept. But all the buzz on whether or not we’ll be in for a big twist in the end is just foolishness. Although for a film about the devil, wouldn’t it be perfectly fitting?

Tony Dekker, aka Great Lake Swimmers, has that kind of rare talent—the talent that can turn one voice and one guitar into something incredible, something beautiful. It’s absolutely compelling.

Moving Pictures, Silent Films

This is the second installment of a series about my time in South Africa.

In 2008, while Maria and I were still dating (we’re married now) she lived in South Africa and volunteered at a home for AIDS orphans. She stayed for six months. For six weeks I went to visit her. Now, a couple of years later, I think I can finally begin to process the experience and I figure while the memories are still fresh enough I may as well write them down.

Leaving the airport I was struck by both the familiar and the strange. Familiar was the Toyota Corolla that Maria and I piled into along with Ruth, the woman who owned and operated the home that Maria was working in. From what I’d been filled in on by Maria, I knew a bit about Ruth. She was a single-parent who had a sordid and difficult life in South Africa. She was Afrikaans which, outside of Africa, might mean very little but on the continent, it carried with it a lot of history. She struggled to work and manage the children’s home, she had big dreams but was having a difficult go of it.

To me, South Africa had a very strange and compelling history as far as I understood it. The Dutch settlers, ancestors to the Afrikaans, set up trading posts and colonized the continent in a way that’s pretty unusual as far as colonies went. Strange because they did it pretty early on in the scheme of things, and strange again because they stayed and made South Africa more than just another trading port. The Dutch stayed amongst the Black Africans and developed an identity of their own, the Afrikaans. Their accent, a mix of Dutch and British, sounds a bit like Australian but is absolutely unique in the world, as is their language.

Apartheid, the separation of the Black Africans from the white Europeans (Afrikaans, British, etc.) was largely similar to Segregation in the Southern United States but lasted well into the late 20th century. Today, the Afrikaans and the Black Africans exist, along with Indians (who were brought into South Africa as domestic servants), in a kind of strange tandem. It’s a clear three-tier social system: Afrikaans, Indians, Black Africans with each ethnic group serving very specific purposes.

As a result of its interesting and unique history South Africa has a very particular feel to it: European, yet African. I immediately fell in love with the place.
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The only thing less impressive than Greg Long’s skills as a writer are his skills as an investigator.

In The Making of Bigfoot writer and self-professed journalist Greg Long sets out to uncover the truth about the famous Patterson-Gimlin film. The Bigfoot film. Captured in the late 1960′s the film features about forty seconds of an unknown bi-pedal creature walking across a creek in the middle of the woods. Allegedly filmed in Northern California by two amateur Bigfoot hunters (Roger Patterson and Bob Gimlin) it has been the subject of much controversy since its release forty years ago. Greg Long decides to put all the questions and controversy to rest, once and for all and by the end of the book he is satisfied that he’s done exactly that.

Let me be clear though, if I handed in The Making of Bigfoot as a term paper in University I would receive it back to me, almost immediately, chalk-full of red pen.

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I’ve seen The New Pornographers live before but I don’t remember them rocking out quite this hard.

What I love about both of these tracks is that, first of all, they sound even more epic live. The New Pornographers put together such incredible songs, building instrument upon instrument and building them together in such a seamless way. That sound is made even more incredible live, especially when you can see all the pieces performed and see how they all fit. It’s neat. Second, I love the incredible energy in these performances. You can tell that they’re having fun, you can see just how much they love making music, and it’s awesome. David Letterman’s little, “Ooo-wee,” at the end of the second video says it all.

It’s a two-for-one because I can possibly pick which video I prefer more.

Crash Years (on “Late Night with Jimmy Fallon”)

Sweet Talk, Sweet Talk (on “Late Show with David Letterman”)

I’ve been a big fan of Montreal-based Stars since a friend of mine played them for one afternoon up in his room. It was 2004 and I must’ve been back from university for the summer. I remember it so clearly because I was so impressed. The album was the band’s break-out recording Set Yourself on Fire. If you’ve heard it then you must know the gripping power of the strings on the opening track, “My Ex-Lover is Dead.” It’s an incredible album and features some of the best songs written of the last decade.

Sadly, Stars follow up to their wildly successful 2004 album was 2007′s In Our Bedroom After the War and as much as I dedicated myself to this album—as hard as I listened to it—I couldn’t get into it. It was a bit of a let down. Following the interesting and original 2004 release, this new record seemed a bit too boring and contrived. It didn’t feel very organic and the tracks seemed like a bit of a hodge podge—incoherent—and that was my biggest concern: it didn’t feel like a complete record.

Well, I’m happy to report that if Stars last album was disjointed, 2010′s The Five Ghosts is the complete opposite—and I like it.

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I’ll be honest with you.

When Ben Folds Five released their break-through album, Whatever and Ever Amen, I was in Grade 7. At the time, my friends and I were largely into the kind of music that was popular at the time. I won’t even name names because it’s too embarrassing, but suffice to say, we were not cool enough to listen to Ben Folds Five. Not really, except one friend. Sure, he liked a lot of the same kind of music that we did but somehow he lived slightly outside of the headspace of the rest of us preteen boys. He loved Ben Folds Five and, of course, we teased the heck out of him for it. We thought it was boring piano music, nothing like the raging guitars and screaming vocals that filled up the rest of the music that we liked.

In hindsight, it was music like Ben Folds Five that’s endured. Politics and religion aside, Brick is a story, for better or for worse, and it’s a great story. Ben Folds has always been a masterful songwriter and I’m glad that even though it took some time and some growing up that I’ve come to appreciate his music. He’s a talented guy and Bob, you were right.

Brick (1997)