It Always Goes By Too Quickly...

How is THIS going to work? A complicated situation in Alfonso Cuaron's Y Tu Mama Tambien.

It’s a movie about teens who drink, smoke up, and try to have sex with anything that moves. We've seen this all before, right?

The thing is, every frame of Y Tu Mama Tambien is filled with a real melancholy that few films are able to evoke. You can feel that these "glory days" of youth are slipping away forever, as youth tends to do, and no matter how much time you spend trying to hang onto them, the world will continue to move along without you.

The two leads play teenage boys who are charming and charismatic despite their selfish and obnoxious behaviour (amazing performances by Gael Garcia Bernal and Diego Luna), as they con an attractive older lady (Ana Lopez Mercado) into joining them on a road trip to a beach that they invent just to impress her. Of course, male hormones dictate that along the way the two boys are going to try to have sex with her. Undoubtedly, the older and wiser woman will somehow turn the tables on these two arrogant specimens.

However, the film transcends the “teen road movie” genre by taking a huge step back from its own subject matter. The movie runs along normally, with two people conversing back and forth for example, when all of a sudden the soundtrack cuts off and everything goes silent. An omniscient narrator then cuts in to describe, calmly and logically, the histories of certain characters, previous events that have happened at the Mexican locations seen in the film, or even matter-of-fact glimpses into the future of certain characters or situations. This narration, combined with a camera that sometimes lifts up with a mind of its own to roam around a particular setting, give the actual main plot of the film a feeling of triviality and insignificance compared to the innumerable stories in the country of Mexico where it all takes place.

Don’t let the unabashedly explicit sex turn you off (for some it may even be a selling point!), Y Tu Mama Tambien is a moving look at friendships that can never last, road trips that you never want to end, and good times that slip through your fingers the more tightly you try to hold on.

The Fall TV Season Part 2: LOST all over again...

Jack (Matthew Fox) is locked away while newly-introduced Juliet (Elizabeth Mitchell) looks on in the Season 3 premiere of LOST.

The third season of LOST has begun in much the same way as the second: with a tantalizing look into a world that we're dying to understand. The massive question hanging over Season 1 was "What is in the hatch?", a question adressed enigmatically in the Season 2 opener with a look into the daily life of the man who was living down there. Season 3 opened in much the same way, with the nagging question of "Who are these Others?" adressed this time with the daily life of a sad homemaker in a seemingly normal suburban neighborhood whose book club meeting gets interrupted by the crash of Oceanic Flight 815. Normal suburban neighborhood this is NOT, it's how the others live: the camera pulls back to reveal a small patch of suburbia on the otherwise savage Island we've shared with the castaways these past two seasons.

A more intriguing opening teaser you'd be hard-pressed to find this season, saying so little and yet so much. The Others live with all the comforts of urban civilization, including CD players, electric ovens, and plumbing. Yet whenever we have seen them in the previous season they have disguised themselves as a ragged, worn-down tribe, complete with fake beards. They seem peaceful and intellectual; as we open the "homemaker", Juliet, is preparing for a book-club meeting with her neighbors. Yet we have seen them kidnap people viciously and know they are quite well-versed in fighting and survival skills. Once everyone runs out of their houses to see the plane breaking apart overhead, the man known (up to this point) as "Henry Gale" is quick to order people to the crash sites; they are obviously no strangers to hapless travellers landing on their shores. And creepiest of all is the fact that through the crowds of people coming out of their "suburban" homes, not one child is to be seen. Any long-time watcher of the show knows how the Others are obsessed with kidnapping children, for reasons unknown.

"For reasons unknown" describes a lot of the plot points on LOST actually, and the only saving grace is that, for me at least, I feel like the writers know where this is going. Whenever a dangling plot thread rears its ugly head, I feel pretty confident that it will be resolved, eventually. A lot has been written in blogs and otherwise saying basically that TV is now the best visual medium for telling rich, meaningful, and original stories, and I believe it. Two or three hours in the cinema versus the 20-plus hours in a TV season, it's easy to see how formerly-lowly television can dig deeper into characters and settings than the movie-screen. A big sea-change in television writing is here: audiences are now assumed to have attention spans and everything isn't tied up with a nice moral every week. The cinema, meanwhile, keeps churning out remake after remake (come on, Scorsese's new film is a remake of an Asian movie?!?), and few movies lately have connected the visual to the emotional like the classics of the past.

So let's hope that the sure-hand of the LOST writers continues to lead us through Season 3, because there is a lot of potential waiting here! Jack, Kate, and Sawyer had been taken prisoner by the Others at the end of Season 2, and it is still unclear as to why those three were chosen. One very big possibility is that they are the most prominent love triangle on the island; when emotions are involved people can be made to do VERY irrational things. The Others are certainly into manipulation, and there really is no greater threat than that of pain unto someone you love.

Doctor Jack is being held in a glass cell, looked over by Juliet and stubbornly refusing to eat or do much of anything. Kate is forced to shed her jeans and t-shirt look for a slightly demeaning flowery dress, and has a creepy breakfast on the beach with "Henry Gale" in a classic dinner with the enemy scene. And poor Sawyer is trapped in a cage not unlike that of a lab rat where, if you push the food button too many times, a huge jolt of electricity will throw you across the cage. Eventually Sawyer does figure out this food conundrum and in one of the funniest scenes of the premiere he earns himself some feed and a fish biscuit.

What are the Others trying to do here? Is it behavioural testing? Cult indoctrination? Sadistic torture? Are the Others the remnants of the Dharma Initiative, a group of idealistic 70's scientists who, bent on improving the world, built an array of research stations across the island? There is so much history here that we need to trust that the writers will give it to us, someday. Patience is already wearing thin for some viewers, it seems, who believe that the writers are just pulling things out of the air as they go along. Perhaps the complete mythology-meltdown of the later seasons of The X-Files still scares these people to this day. I think the beauty of LOST is that the background mythology is only one part of the tapestry of the show; the characters and their development are really what make the show work so well. The slower pace of the storytelling allows us to dig deeply into the daily life on the Island while flashbacks illuminate the lives of our beloved characters and tie into their current trials in interesting ways.

All I know is that The Powers That Be behind LOST have hooked me in for another season with these prominent questions about the Others. But even without the riddles, after two whole seasons viewers have bonded with the castaways on the Island. We care about these people and we want them to survive. Peeling back the layers of these mysteries should help them do just that. That's really where the balance of mythology and character-drama should be, and I hope that LOST can walk that tightrope for a while longer.

The Fall TV Season Part 1, or: What New Show is Worth my Precious Time?

"Look, it's me in a comic-book I found when I teleported to New York City! Hey, why don't you believe me?" Masi Oka from Heroes on NBC.

Yes, it's that time of year again: the days are getting shorter, the leaves are getting ready to let go of the trees, and TV networks are throwing shows at us like each one is the second coming of MASH. Yes, I'm sure Brothers and Sisters is great, and surely Kidnapped is gripping... no wait, that's been cancelled already. Much like the leaves, a few "new" shows are dropping off already. And some arrive pretty old and tired to begin with. So the question I'm always faced with at this time of year is: how will I spend my limited time in front of the TV?

See, some shows have already earned my trust. We've already got a good relationship going, had a few good times in the past, and they've left me on a good note before they went off for the summer. These shows have proven themselves already, and I'll be catching up with them again. I'll also be writing about their new season premieres soon, I'm talking about LOST and Battlestar Galactica here people, and their season openers have both been amazing in different ways. But more about that later!

Now we must look at the new crop. The mysterious strangers that give you tantalizing glimpses into their potential, promising you everything under the high heavens, begging you to watch. It's kind of intimidating, starting a new relationship with a show. You've got to be ready to make the leap, to invest yourself fully in this new world it's creating in front of you. It really does take a lot to get me to jump into a new show from the beginning: it has to be intriguing, it has to be different, it has to jump out at me somehow. LOST managed to hook me two years ago; something new has done it this year when I was least expecting it.

The best new show of the 2006 TV season is Heroes on NBC, Monday nights. Two episodes in and I am completely hooked already. Right off the bat many have compared it to LOST with its large, interconnected cast of multicultural characters and deep sci-fi style storyline. Others have compared it to Unbreakable because of its serious treatment of seemingly normal human beings coming to terms with the fact that they are, in fact, superhuman. The comparison to Unbreakable is justified here, even though I didn't enjoy that movie. It took itself FAR too seriously, while Heroes finds the perfect balance for me.

It is a show about a diverse group of seemingly normal people discovering that they have superpowers. An average-joe male nurse is convinced that he can fly. A drug-addicted painter creates images of the future. A beat cop discovers that he can read people's minds. A pretty cheerleader throws herself from a bridge in front of her friend's video camera to prove that she is... UNBREAKABLE! Sorry, I had to.

So some are shocked, some are scared, some are downright disturbed. And one in particular is REALLY freaking excited. He is Hiro, one of the best characters to hit TV screens in a long time. He is an excitable Japanese cubicle-dweller who discovers (somehow) that he can bend the space/time continuum. As we meet him, he's staring down the clock in his cubicle to try and make it go backwards. Once he manages to do it, he proceeds to run around his office, arms flailing, screaming and yelling. He is continually telling his friend about how he will use his powers for good and not evil, and wonders if he should use a secret identity. He is honestly a joy to watch, and works as a complete antithesis to the usual burdened and tortured superhero: this guy knows the comics, embraces the "destiny" of a superhero, and runs towards the challenges before him with open arms. Masi Oka does a wonderful job with this character, pulling off a complete innocence that is so natural, funny, and above-all, watchable.

Not that Heroes is all fun and games mind you! In the second episode we are introduced to the gruesome works of a super-powered serial killer who likes to cut open the heads of his victims. And there is already the looming image of a nuclear detonation in New York City that our heroes will have to contend with. And those cliff-hanger endings! The show is only two episodes in and it's already becoming known for throwing some incredible twists into the last few minutes of the show. Episode 2 in particular blew me away with a much closer view of that "looming" nuclear blast than I was expecting. The real beauty here is that these twists don't feel tacked-on and stay an organic part of the story, just ramping it up a notch at the end of the episode like good TV is supposed to do.

This is certainly going to be an interesting series, and I was glad to hear that the show has already been picked up for a full season. Wow, smart TV executives, who would have thought? The true appeal of Heroes is that it seems to have found the balance between character-driven stories and a deeper over-arching plot, the same balance that I hope LOST will find again in its third season. But that is a subject for the next time! Until then, I will be keeping the streets safe with my own super-power, the ability to flare my nostrils on command! It impresses my girlfriend anyway, although I have the sneaking suspicion that I'm NOT the only one who can do it. Anyone out there have any super-powers to tell of? Be sure to let me know, you never know when they might come in handy...