Out of print for more than 30 years, now available for the first time as
an eBook, this is the controversial story of John Wooden's first 25
years and first 8 NCAA Championships as UCLA Head Basketball Coach.
This is the only book that gives a true picture of the character of John
Wooden and the influence of his assistant, Jerry Norman, whose
contributions Wooden ignored and tried to bury.
more than 40 hours of interviews with Coach Wooden, learn about the man behind the coach.
The players tell their their stories in their own words. This is the book
that UCLA Athletic Director J.D. Morgan tried to ban.
Click the book to read the first chapter and for
ordering information. Also available on Kindle.
My Week with
Marilyn (10/10): One of
the best I've seen this year, Director Simon Curtis paces this film
smartly and gets the most out of his cast in this autobiographical tale
of a 3rd assistant director's (Eddie Redmayne) one week with Marilyn
Monroe during the shooting of "The Prince and the Showgirl” in 1956.
Michelle Williams gives an award-quality performance, not only looking
and moving like Marilyn, but also capturing her insecurities and her
presence as a star, and how she used the latter. Kenneth Brannagh is
charming as Marilyn's co-star, the exasperated Lawrence Olivier. The
color photography (Ben Smithard) is beautiful, especially in catching
Marilyn's ripe red lips. The script (Adrian Hodges) is very good, even
if it does steal a Goldwynism ("The most important thing in acting is
honesty. . . And once you learn to fake that, you're in.") and puts it
on Olivier's lips.
(10/10): Laugh out loud
Method (7/10): The story
of 50-year-old Sigmund Freud (Viggo Mortensen) and his acolyte,
30-year-old Carl Jung (Michael Fassbender) at the dawn of the 20th
Century is mostly talk with some sex and some nudity, as one should
expect, given that it's the story of the birth of psychoanalysis based
on past sexual experiences. Watching Director David Cronenberg's film
takes a lot of concentration and thought. Keira Knightley's over the top
acting as a psychotically disturbed young woman at the beginning of the
film is disturbing and uncomfortable to watch. It's either overacting or
an award-quality performance. The ambience of the movie is exceptional.
Although set in Vienna and Zurich, the film was shot in Cologne,
Bodensee (Lake Constance) and Vienna itself. The locations are beautiful
and the recreation of early 20th-Century Europe evocative. Many scenes
were shot in Freud's actual house in which he lived from 1891-1938. If
you pay attention to all the talk, you can learn a lot and be
entertained at the same time.
(10/10 for children 7/10 for adults):
While clearly meant for children,
this is colorful, musical, and fun. With the extra advantage of the
presence of the redoubtable Amy Adams it can please adults, too. There
are some charming cameos by Alan Arkin, Mickey Rooney, Whoopi Goldberg,
and many others, along with a good performance by Chris Cooper as the
bad guy. The movie is too long for an adult and doesn't have enough
singing and dancing, but what it has is very good. The last half hour
drags and the ending is preachy, although this is The Muppets and
they've gotta get their message in (not that there's anything wrong with
(3/10): There's a reason
why there has only been one silent movie made since the '30s; they are
excruciating to sit through. While this homage to the past is
technically well done and the Fremont Place locations are of local
interest, 100 minutes of a black & white silent movie is too passé and
esoteric to be entertaining to the vast majority of today's audience.
(1/10): Clint Eastwood and
Leonardo DiCaprio (Hoover) are to be commended for wanting to make an
old-fashioned biopic, educating people on an American legend. But did
they have to make it so long, boring, and uninformative? They ignore
controversial topics like his hatred of the Kennedys, instead
concentrating on portraying him as a sexually ambiguous, cantankerous
bore. In fact, DiCaprio makes so many monotonous speeches that it's
surprising he didn't grow a granuloma on his vocal cords. Not only does
Eastwood show no familiarity with pace, he confusingly bounces back and
forth between time periods, and the music he wrote makes the film even