Viva La Revolución

DEEP "LOST" THOUGHTS

By MrsBenLinus

I’m not trying to sound conceited (insert: hair flip), but I totally knew it was a Flash-Forward.  C’mon, who didn’t see the Crazr phone in Jack’s hand and think, hmm, that’s obvious.  Because I did.  Regardless, it was an OMG moment.  My heart gasped when I saw how hot Future Kate looked in comparison to Future Jack, who seemed to have totally stopped going to the gym.  (But did he ever work out, you think? On a steaming tropical island, his ratty t-shirts are like a chubby man’s security blanket, whereas Sawyer is built, proud and constantly shirtless as a Chippendale’s dancer.) I once watched a Real World Reunion show on MTV, and two formerly romantic interests expressed the breakthrough realization that once back home and off-camera, their relationship had no common interests, as they had left the heightened reality of the Real World house.  I’m certain that this is exactly what happened with Future Kate and Jack.  She’s a crafty and experienced fugitive.  He’s a friggin’ spinal surgeon.  Without the plane crash, yeah right they’d fall in love and gaze brain-dead into each other’s souls.  LMAO!  But I was totally pissed when Kate chose Sawyer.  It’s like watching your best friend, one you’ve known for, like, three seasons, make the same self-destructive mistakes.  You just wanna tell her to forget about that whole whoopsie pre-meditated I killed my boozin’ daddy faux pas, and realize, hey (!), you have a good heart and lush, climate-neutral hair.  Forgive and forget, live and learn, que-sera, from here to eternity, like who hasn’t been there, you know?  It’s 2008, people, and we need to lighten up on the judgment.  Well, actually, on the island it’s still 2004, so I guess, LOL, they aren’t quite there yet.  And in that case, Jack needs a gym and Kate should go to jail.  TTFN.

Click here to find out all that island life has to offer.

For ticket inquiry, contact Oceanic Air.

LAUNCH OF THE SMART CAR

Scott Goodson writes...

The first client we had at StrawberryFrog was the smart car in Europe. In 1999, we were a fledgling new agency on the west coast of Europe - in Amsterdam.

One of the reasons why the smart car's launch in the USA will be interesting to watch is because of how it was positioned then. Plus the 'cool factor' and the buzz that the brand established in Europe during it's early years. It carried the profile and cache of a culture-defining lifestyle brand.

Back in 1998, the MCC (Micro Car Company) was co-owned by Swatch and Daimler Chrysler. If you look at the smart logo and the swatch logo you will see similarities, such as the same typography and same small use of the small lettering. In fact, name smart (which is supposed to be spelled lower case) is an acronym for Swatch Mercedes ART.

We collaborated with a Swiss-based agency, with the Hayaek family (the owners of Swatch) and Daimler Chrysler. The head of marketing was the former CMO of ESPRIT fashion brands, based in Germany.

Right from the start the maverick Nicholas Hayek had an idea, an extraordinary idea. An idea that in his mind would change the way we humans - especially us urban humans - lived and transported each other.

Hayaek's idea was not to launch a car, but to launch something he called the "Mobility Concept." The mobility concept was a rethink of how we as humans transport ourselves and our families in urban environments. It was a rethink on how we could own a vehicle in an urban environment.

Hayaek had managed to negotiate with Swiss urban authorities enabling smart to be the first car to have special parking facilities at train stations in the city. Small compact parking spaces were developed for commuters who would leave their cars at the station, jump the train and head home. Hayaek had started to negotiate with Sixt, the major European car rental firm, about the idea of enabling smart car owners to use full size Mercedes vehicles on the weekends to transport their families. This made a lot of sense to Hayaek since European Car rental firms have parking lots full of full size cars on the weekends, so what better way to use dead car time than to wrap it up into the Mobility Concept.

So smart mobility was - in a nutshell - you bought a smart. You got special urban parking privileges. You could use full size Mercedes on the weekend.

The target for this brand and its Mobility Concept were European urban Gen Xers. Young, stylish, cool, with abundant cash and an appetite for something a little more unconventional than a VW Golf.

The launch communications concept for the smart was a line that felt like a sentence out of Mr. Hayaek’s mouth: “Reduce to the Max!”

This was his plan for cutting through the traffic and boredom of Europe’s cities.

Distribution was also very different from the average car companies. Slim towers of gleaming glass and stainless steel were located on the outskirts of major European cities. Designed as elegant and narrow architectural packages, they popped on the horizon and generated a lust to want to come inside to look at the candy.

CINEMATICALLY CORRECT: THE MOST-CORRECT OF 07

The Formula checks out...

Only the most correct subjects can expect to score anywhere near 300fc points. These three films went above and beyond their call this calendar year, and now assume their rightful places in the annals of cinematic history. Scored, as always, in the name of science, using the Formula for Film Correctness.

----------

No Country For Old Men  // 361fc
Directed by Joel Coen & Ethan Coen, 122 min
Veiled by a simple plot of a fugitive and his pursuers, the resonance of this film seeps from within the wide-open spaces. In recent memory there has not been a film that so rightfully deserves every single laudatory adjective thrown its way: terrifying, humane, epic, intimate, funny, deadly serious, and so on etc. With craft and atmosphere aplenty, the Coens may have added what could go down as a masterpiece to their already near (see: Intolerable Cruelty, Ladykillers) flawless catalog of work. The only question is whether or not they were right in adapting the material so closely to Cormac McCarthy’s original work – including an unexpectedly sudden denouement and dreamlike epilogue. In the opinion of The Formula, the risk taken in walking hand in hand with the source material speaks not of a lack of creativity, but more in the understanding and execution of a model of implacable storytelling.

There Will Be Blood // 361fc
Directed by Paul Thomas Anderson, 158 min
Paul Thomas Anderson barrels in with his fifth entry in a filmography that stands among the most important and distinctive in modern film. While There Will Be Blood hums along the same epic scope and seemingly effortless execution that made his previous works memorable, more than the time period and setting have changed. The true departure with this effort is its importance to now, arguably his first major work – depicting the evolution of obsession in a crumbling soul. Day Lewis’ misogynistic “Daniel Plainview” is grand enough to be an environment unto himself, and drilling into him proves to be the greater purpose – PT does so with ferocity and a sharpened set of tools.

The Diving Bell and the Butterfly // 312fc
Directed by Julian Schnabel, 112 min
Julian Schnabel manages to tell the true story of Elle editor Jean-Dominique Bauby so inventively you may forget how rotten and bland recent biopics have been. The film, aided by Mathieu Amalric’s pitch-perfect performance, soars with range and emotion: sprinkling anger, joy, and wry humor beneath it. Ultimately, the fascinating part is not that actor and director take you on an indelible tour through the highest and lowest points of the human experience, it’s the grace with which they do it.

----------

See you next year!

CINEMATICALLY CORRECT: THE UGLY

The Formula can't bear to watch...

Every year, more bad films are released than good ones. Here are some efforts The Formula didn’t feel were up to snuff, and that, based on anticipation of delivery and subsequent bed pooping, really stunk up the joint. Scored in the name of science, using The Formula for Film Correctness.

----------

Spider-Man 3 // -24fc
Directed by Sam Raimi, 139 min
If any superhero franchise has a responsibility to stray from the popcorn paradigm… it’s Batman. But this installment of the Spidey series could have easily kept on pace with its two predecessors in holding onto the dark side of the ultimate wet toast good guy by pitting him against convincing baddies. Not the case here – all that’s impressive is the sand. Lots and lots of sand. The Harry Osborn vs. Peter Parker story was practically written, ready to be devoured, and Sam Raimi (perhaps with pressure from the studios) decided it was best to chuck it and bring in Oscar Winner ® Thomas Haden Church (on sleeping pills) and mis-cast Topher Grace (doing a Topher Grace impression) as a watered down version of "Venom." Maybe Raimi was just exhausted from choosing which type of sand he wanted to use, or just plain exhausted (like the rest of us.)

Before the Devil Knows You’re Dead // -5fc
Directed by Sidney Lumet, 123 min
Miserable, deliberate, and in-your-face, Lumet pushes and encourages his actors to wallow in a blistering show of flustered regret, hoping that we’ll not only feel it, but be pummeled by the big train wreck dramatics. The saddest part in all of this has nothing to do with the fatalistic and bleak chain of events, but more in the comically overdone execution of what could have been a tightly wound, heartless, thriller. Train wreck dramatics, indeed. Before the Devil Knows You’re Dead is a failure on every level, from a director at the end of his line who was never very good to begin with. The Formula acknowledges that nearly all critics and fans have found something in this picture that The Formula may have missed – feel free to fill The Formula in.

Paris Je T’aime // 6fc
Directed by 18 of the World’s Finest, 116 min
On paper, this looks like a slam-dunk, but it doesn’t quite play out that way. Perhaps it’s the time-limit constraints or the way less than half of les arondissements are tied together in the end – but most of the directors don’t seem to be working at full speed The Formula says most because there are some wonderful moments here that will leave you breathless (see: Alexander Payne, Coen Bros,) but more often that not you’re looking at your watch wondering when the next part will begin.

The Namesake // 22fc
Directed by Nira Mair, 122 min
The Namesake begins well, suffused with radiant grace, managing to feel old-fashioned yet immediate, epic and intimate. All thanks to turns by Irfan Khan and Tabu as a Bengali couple beginning a new life in New York. But as things get modern, Mira Nair’s vividly visual picture rambles, thins out, angers and turns generic despite the best of intentions in its nearly un-watchable second half.

Sunshine // 33fc
Directed by Danny Boyle, 110 min
Danny Boyle’s third film about cabin fever and one-time allies turning on each other lacks the bite and sex appeal of Shallow Grave and the pure terror of 28 Days Later. Despite some stunning visuals there are just too many black holes, and, with high expectations after being delayed nearly a year, The Formula notches Sunshine slightly above failure.

Knocked Up // 60fc
Directed by Judd Apatow, 133 min
It makes complete sense for any woman to want to have a one night stand with a drunken, fattish, vulgar, irresponsible, and dirty looking dude. And it makes complete sense that the resulting pregnancy incurred by said woman (aspiring on camera personality, no less) is kept without hesitance. Sarcasm aside, despite the cast pwning certain scenes, the movie ultimately loses track of its web, tone, and semblance of character. Apatow’s strength is as a producer, and he should be noted/praised for his successes in 2007. But, when sandwiched between 2005’s refreshing-at-the-time The 40 Year Old Virgin and late summer’s Superbad, Knocked Up will be remembered not for solid comedic acting and moments of fine writing, but for the implausibility of a forced relationship and a lack of motivation in its main characters. It had the best of intentions in spinning a comedy out of a difficult situation, but when the problems start that early, the ship’s already sunk. Congrats on making $150 million bucks though. Tight.

----------

The Formula recognizes that countless other films shit the bed in 2007, so feel free to apply this scientific equation to some of the films in the list that follows and post your results. (or write-in your own.) See!...!...!... Interactive.

FILMS RELEASED IN 2007 THAT THE FORMULA MAY OR MAY NOT HAVE SEEN AND MAY OR MAY NOT HAVE ENJOYED BUT DIDN’T MANAGE TO SCORE:

I'm Not There // Directed by Todd Haynes, 135 min
Michael Clayton // Directed by Tony Gilroy, 119 min
4 Months, 3 Weeks, and 2 Days // Directed by Cristian Mungiu, 113 min
30 Days of Night // Directed by David Slade, 113 min
Harry Potter and the Order of the Phoenix // Directed by David Yates, 138 min
The Simpsons Movie // Directed by David Silverman, 87 min
Rescue Dawn // Directed by Werner Herzog, 126 min
Waitress // Directed by Adrienne Shelly, 108 min
Shooter // Directed by Antoine Fuqua, 124 min
Grindhouse // Directed by Robert Rodriguez & Quentin Tarantino,  191 min
Across the Universe // Directed by Julie Taymor, 131 min
Beowulf // Directed by Robert Zemeckis, 113 min
300 // Directed by Zack Snyder, 117 min
Transformers // Directed by Michael Bay, 144 min
Live Free or Die Hard // Directed by Len Wiseman, 130 min
Sweeney Todd: The Demon Barber of Fleet Street // Directed by Tim Burton, 117 min
Walk Hard // Directed by Jake Kasdan, 96 min
The Assassination of Jesse James by the Coward Robert Ford // Directed by Andrew Dominik, 160 min

-----------

Tomorrow's installment will review the three most-correct films of the year. Sadly, we're coming closer to the end of the line.

To Be Concluded...

CINEMATICALLY CORRECT: THE BETTER

The Formula returns...

From the immensely correct to the thoroughly correct, these 2007 entries will stand the test of Film Correctness over millennia. Ranked in the name of science, using The Formula for Film Correctness.

If you're still confused about the numbers, read this.

----------

Once // 297.5fc
Directed by John Carney, 85 min
Leaving behind the glitzy baggage of the big budget movie musical, John Carney’s Once makes a clean break from the trend with its efficient handheld camera and low-key style. By remaining heartfelt, sparse, and so quietly genuine in traveling with two musicians as they fall totally and convincingly in love, Once manages to be the complete opposite of Rent. For this reason it needs to be acknowledged. And for this reason, it will be remembered.

Superbad // 288fc
Directed by Greg Mottola, 114 min
Very rarely does a film so clearly understand what it is. A sweetly absurd high school fracas, Superbad maintains that delicate balance of tenderness, empathy and vulgar comedy. While packed with irreverent lowbrow wit, it manages to seamlessly transition from penis odes to heartbreakingly tense situations before you realize you’re watching a tightly paced, smartly written and well-directed film.

Hot Fuzz // 285fc
Directed by Edgar Wright, 121 min
Attention to detail, elaborate set pieces, flawless comedic timing, and ace acting augmented by top-notch writing make Hot Fuzz more than just an homage to the action genre, and anything but a spoof. Sharper and funnier than Shaun of the Dead, in their second go round writer/director Edgar Wright and co-writer/star Simon Pegg cobble a million motivated pieces into a blinding package that beats the essence of filmgoing back into your skull… by any means necessary.

Two Days in Paris // 266fc
Directed by Julie Delpy, 96 min
The biggest surprise of 2007 is Julie Delpy’s directorial debut: a delightfully tense comedy of errors that manages to be self-absorbed yet unselfconscious in its dissection of what it can be like to find out where the person you love came from. Acutely painful and actively funny, Delpy recalls the best of Woody Allen without pausing to reference – which, in the opinion of The Formula, makes for freshness.

Atonement // 255fc
Directed by Joe Wright, 130 min
From what The Formula hears, no two-hour film could ever capture all the riches of Ian McEwan’s supposedly masterly novel (The Formula doesn’t read these kinds of books.) But director Joe Wright must come very close in this gorgeous, well-paced, and sensual study of both the hurtful and redemptive effects of imagination. Impossible coincidences aside, The Formula agrees that while not as unforgettably easy as 2005’s Pride and Prejudice (The Formula likes to feel good once in a while) this 75-year-covering-period drama packs a worthy enough punch to draw a long-ish glance.

The Bourne Ultimatum // 248fc
Directed by Paul Greengrass, 115 min
Our third peek into Jason Bourne searching for answers to his unknown past moves relentlessly, intelligently forward as everything extraneous gets chucked starboard, then after a breath, it continues thrumming with an unbelievable amount of energy, making wonderful use of otherwise disposable actors (see: Stiles, Julia.) While sure to be ignored in the coming award season, The Bourne Ultimatum is undoubtedly one of 07’s best, and is proof that hellacious action films can be fun as hell without being mindless.
*Winner: Best Hand-to-Hand combat scene (indoor) involving both a magazine and a hand-towel.

The Savages // 238fc
Directed by Tamara Jenkins, 113 min
For what it is, The Formula believes Tamara Jenkins’ sophomore effort is nearly perfect. Featuring some of the best writing and acting on screen all year, it’s the very nervous humanity of the characters involved that makes it a successful and unique work of art. Grimly funny and brazenly unsentimental (save the last 30 seconds), it has the effortless grit often missing from indie movies. Maybe because it’s not an indie movie after all. The Formula believes it’s just a great story.

Away From Her // 224fc
Directed by Sarah Polley, 110 min
The Formula is pleased to report that while Sarah Polley’s directorial debut is at times over-written and tough to bear, it manages to more than adequately strike chords heartbreaking and intense thanks to majestic performances by Julie Christie and Gordon Pinsent. Polley proves a natural talent for storytelling, delicately weaving this quiet story of love and frustration with a journey through the clouds of a disappearing mind.
----------

Check back next week for the Ugliest and Best films of 2007, as determined by The Formula for Film Correctness.

To Be Continued...

StrawberryFrog is named Agency of Record for ChangingThePresent.org

ChangingThePresent.org, the nonprofit website that offers gifts that change the world has appointed StrawberryFrog as their Agency.

December 14th, 2007 – StrawberryFrog, an award-winning, full-service advertising agency is proud to announce its alliance with the nonprofit website; ChangingThePresent.org. StrawberryFrog offers its services to the nonprofit website as a donation; there will be no funds exchanged for the time and energy the agency invests in promoting this ground-breaking website.

ChangingThePresent.org, a 501(c)(3) nonprofit website, offers donation gifts that change the world.  It is designed to make charitable giving simple and above all rewarding. This forward thinking site allows donors to search through different causes, to find the gifts that will make a difference. Through this unique process the gift bearer is able to source a present that is appropriate to the receiver and thus, donations become personal allowing the donator to give a gift that not only helps make the world a better place, but, that has meaning.

Mike Lanzi, Managing Director of StrawberryFrog, said of the charity “This is an elegant and fluid nonprofit website, think the ‘Apple’ of charity. I was bowled over by the simplicity and ease that this site gives to the donor, it allows the act of giving to be effortless, with no stress and no confusion.” He went on to say, “It deserves to succeed, we want it to succeed, and we are investing our time and energy to see that it does”

StrawberryFrog will provide their services as a donation to changethepresent.org and will help to promote to brand within the USA and globally through a multi-disciplined creative, management and communications planning as well as strategic and branding capabilities.

Robert Tolmach, President of WellGood LLC, the social enterprise that is helping to develop ChangingThePresent.org, said, "We could not be more appreciative of the opportunity to work with Scott Goodson and his colleagues at Strawberry Frog, as they are all about innovation and excellence in strategic and creative thinking.  We are also delighted to discover that they are as generous as they are talented.  We look forward to working together to make the world a better place."

StrawberryFrog is an innovative, independence convergence agency that works in innovative ways with brands such as Wal-Mart’s Sam’s Club, Miller Brewing Company, Scion and Unisys

For further information please contact:

Gabrielle Lott
PR Director
StrawberryFrog
gabrielle@strawberryfrog.com
212 366 0500

The New Year brings fresh, senior talent to StrawberryFrog, with the appointment of Chip Walker as Director of Strategic Planning.

10th January 2008 / New York

StrawberryFrog NYC is pleased to announce the appointment of Chip Walker as Director of Strategic Planning. Chip will work closely with Chief Strategic Officer, Ilana Bryant. Walker will lead the Strategy Department and oversee strategic output of StrawberryFrog NY.

For the last 4 years, Walker was Chief Planning Officer at Energy BBDO, Chicago. During his time there, Walker was part of the team that revolutionized, repositioned and renamed the agency, turning it into one of America’s hottest shops.  In his time at Energy BBDO, Chip established the account planning function and grew it to one of the BBDO’s largest and strongest.

Ilana Bryant, Chief Strategic Officer said “Chip is a true frog, a visionary leader with a proven track record in creating revolutionary brand solutions. He’s also a strategic soul mate of StrawberryFrog’s philosophy of brand building through cultural connections.”

Walker’s career began over 20 years ago. In that time, not only has he gained recognition for his imaginative and progressive methods of working, but for his breadth of knowledge. In the 1990s, Chip co-founded the noted trend-watching company BrainWaves. Since then, he has received recognition for being an expert on global youth.  Chip’s opinions and commentary have appeared in national broadcast and print from Business Week to CNBC. Recognition within strategic planning has led to invitations to speak at major corporate events and conferences; The Conference Board, The Direct Marketing Association, and The Institute for International Research to name a few.

“My way of doing planning is to find a way to tie a brand to something important that is happening within culture. In my opinion, no one does that better then StrawberryFrog.” Walker went on to say that “I felt at home from the moment I walked into the Agency.”

StrawberryFrog is an independent convergence agency that works in innovative and unconventional practices with brands such as Frito Lay, Wal-Mart’s Sam’s Club, Miller Brewing Company, Scion and Unisys.

For further information please contact:

Gabrielle Lott
PR Director
gabrielle@strawberryfrog.com
212 366 0500

CINEMATICALLY CORRECT: THE GOOD

The Formula weighs in...

Whether guilty pleasure, ace effort, commercial or critical success, these bombers hit close enough to the mark. Ranked in the name of science, using The Formula for Film Correctness.

For questions about point allocation, please read this.

----------

3:10 to Yuma // 221fc
Directed by James Mangold, 117 min
Mangold’s follow up to Walk The Line is an attention-holding ride through rough country of both the physical and spiritual kind. Without being flashy, 3:10 to Yuma manages to incorporate the rhythms of a contemporary action movie while maintaining a healthy respect for the tenets of the genre. And while you’ll do your fair share of sweating and flinching during the 117 minute run time, the delivered performances of Bale, Crowe, and Ben Foster (as Charlie Prince) are what make this one superior to the original.

Ratatouille // 220fc
Directed by Brad Bird and Jan Pinkava, 111 min
The combination of story and craftsmanship has not only put Pixar on the map, but has set them apart from all other animation studios and, dare I say, made them the undisputed champion. Ratatouille is inspired, beautiful, funny – more of the same from Pixar. It will hold up over time, but in a year this special it lacked something for The Formula to rank it among the best.

Into The Wild // 210fc
Directed by Sean Penn, 140 min
Emile Hirsch carries the film on his increasingly emaciated shoulders, performs heroically as a disillusioned and misogynistic youth – but there’s an edge missing to the overall package. Despite annoying flaws, there’s enough good to engage. Understanding and sympathy are keys to the climax, and if you’re not willing to travel, best not set on the path.

Charlie Wilson’s War // 210fc
Directed by Mike Nichols, 97 min
Here comes a historical drama slash snarky comedy about a covert US effort to fund a resistance to the Soviet invasion of Afghanistan. Written by the guy who created The West Wing. Directed by the guy who did The Graduate. Paid off by the skilled cast bringing out the best in each other, it’s briskly paced and engaging enough but with such a topic, it makes The Formula wonder why the teeth are missing from all but Hoffman. What can be said is that Mike Nichols cares about entertaining the audience, about giving them something to laugh at and have fun with before hitting them over the head with how bad things are.

Margot at the Wedding // 196fc
Directed by Noah Baumbach, 92 min
Mostly commendable for its departure from the proven success of The Squid and the Whale, Margot at the Wedding is at times pretentious, ugly, and annoying… and proves better for it. Baumbach has pulled off the rather dubious accomplishment of making an incisive, involving film about a thoroughly detestable group of people. It’ll take a day or two to shake yourself off.

This is England // 192fc*
Directed by Shane Meadows, 101 min
Balancing sharp social commentary with realistic wit and humor, This is England is a knuckle sandwich based on Shane Meadows’ experiences growing up in England’s Midlands in 1983.
*Tabulated offsite by Formula Lab assistant Matthew Barber.

Enchanted // 180fc
Directed by Kevin Lima, 107 min
A fairly tale that pokes fun at animated classics, but never too hard to hurt, Enchanted harnesses its charms and at times meets levels sophisticated and subversive – all the while remaining accessible to any age group mostly thanks to Amy Adams’ potentially iconic performance and a strong message to balance reality and fantasy for best results. Walt Disney would be proud.

Gone Baby Gone // 168.75fc
Directed by Ben Affleck, 114 min
(*Awaiting write-up from Formula Lab Mistress Kate Hyatt.)

Zodiac // 168fc
Directed by David Fincher, 158 min
Despite its wobbly storyline and difficult to film subject matter, Zodiac is given execution points for its masterful performances by Robert Downey Jr. and Mark Ruffalo. Intentionally long and low-key, the film’s grip is not as strong as some would hope – but considering the absence of cheap tricks in favor of subtlety and unrest – it would be hard to ignore David Fincher’s exploration into the minds of men who are desperate to get to the bottom of something. Patient viewers will be rewarded.

American Gangster // 168fc
Directed by Ridley Scott, 157 min
All the expected impressive parts of a Ridley Scott production are here, and with such acting talent attached, American Gangster is an irresistibly seductive celebration of a monster. Built on the foundation of a great story – it’s epic to a fault. Minced into so many morsels that almost nothing in it has any weight – but it’s a ride nonetheless. The scope and execution rank American Gangster among the most likely to nab statues away from superior efforts come award season.

Reign Over Me // 168fc
Directed by Mike Binder, 124 min
Adam Sandler dusts off his drama chops in a film that is equal parts buddy-tale (with Don Cheadle) and knockdown drama: covering issues of tragic loss, survivor’s guilt, and psychological defense mechanisms. Surely those two don’t go together, but expected and sometimes surfaced problems are minimized by an ever-presently disarming sincerity and wonderful soundtrack that make this one a strong recommend from The Formula.

The Darjeeling Limited // 140fc
Directed by Wes Anderson, 91 min
There is something to be said for attention to detail. The Wes Anderson visual bag-of-tricks is not only breathtaking, but crucial to the humor and personality of the overall piece. Problem is that the themes, characters, and emotional baggage haven’t changed over the course of his five-film catalog – which unfortunately makes the Darjeeling gems (and they are surely there) harder to find, let alone appreciate. Sadly, form has become Mr. Anderson’s content, and this is hard for The Formula to say.

Juno // 140fc
Directed by Jason Reitman, 92 min
While favored over last year’s over-appreciated Little Miss Sunshine, The Formula finds little more in Juno than a sweet tempered world of enjoyably planned wit, sass, and engagement – and not so much the smarts the public is raving about. A feel good piece of pie, sure to be loved, maybe even cherished – but nothing more than satisfying.

You've seen The Good, check back soon for The Better.

To be continued...

CINEMATICALLY CORRECT: THE FORMULA

The Formula writes...

Every year, bellows and complaints are tossed around re: the best and worst films of a year. And every year, opinions and theories have been subjective. No longer!

Inspired by Tim Midgett's "Guide to Musical Correctness," 2007 will now be the first year, on this very blog, that the given 12 months of film efforts will be scientifically scored and written up via The Formula, and its "Guide to Film Correctness."

This is the end to stalemates. Things are not relative. As Mr. Midgett states, "Though there is no accounting for simple bad taste, what is correct (or not) is readily apparent to anyone well-versed in the subject at hand."

The Formula is such:

(c@ + E) x (rP + iP + T) = fc (Film Correctness)

c@ = coherent aesthetic: The degree to which a subject is capable of formulating and understanding (not necessarily explaining) a singular theory that lies at the heart of the subject's work.

E = execution: The degree to which a subject is capable of applying its aesthetic.

rP = real or true power: The degree to which a subject is capable of creating a substantive product of lasting importance by applying its aesthetic.

iP = imagined power: What the subject believes to be its rP.

T = tension adjustment: The degree to which the subject's film correctness quotient must be modified to compensate for misjudgement by the subject of its abilities.

                   

Derivation of T:
If rP = iP, then T = 0.
If rP > iP, then T = 1/2 (rP - iP)
If rP < iP, then T = 2(rP - iP).

And finally:                   

fc = Film Correctness: The degree to which the subject is cinematically correct.

------------

Pirates of the Caribbean: At World's End - Cinematically correct?

SCALE

All terms except T and fc may only be represented by positive numbers, usually integers, between 1 and 10.                   

Breakdown and Interpretation of Results                   

Lowest possible score: -140                   

Highest possible score: 400                   

300 - 400: Only the most correct subjects can expect to score anywhere near 300. These mavericks make up for any slight missteps by masking them as an adventurous spirit. Success is a necessity.

250 - 300: Still rarified, immensely correct territory.                   

200 - 250: 200 is the lowest score possible for Film Correctness. Seeing as, through the passage of time, a film ranking over 200 will remain thoroughly correct.                   

150 - 200: The haunt of many guilty pleasures, many of them heartfelt teen comedies, animated comedies or generically decent thrillers. Primarily subjects that overrate themselves based on commercial or critical success.                   

100 - 150: Entertaining but potentially embarrassing films: borderline-excusable movie viewing, effective as long as it maintains a semblance of originality or effective obscenity.                   

------------

The year 2007 will be reviewed in four installments:

The Good

The Better

The Ugly

The Best

Comments will be tolerated, and in fact, encouraged - as The Formula agrees with the right to express personal opinions. But please remember that there is no arguing with science.

To Be Continued...

THE LIFE AND TIMES OF MIKE LANZI

In a "Life and Times" interview with Agency Spy, newly appointed StrawberryFrog Managing Director Mike Lanzi explains why he left BBDO, names his biggest failure/success and gives a definition for innovation we can stand by.

---------

1. You are no novice in the advertising game having worked at BBDO and the Martin Agency before hooking up with Da Frog. If you could go back to the beginning of your career and give yourself one piece of advice, what would it be?

Focus on doing something that you love, take great pride in that work, and believe that you can challenge convention to outwit the dinosaurs.

2. Why did you leave BBDO? Was it the money? The title? All of those things or something else?

I loved the people I met. I really love the team here, Scott and Kevin are fantastic thinkers. Ilana is one of the smartest strategic minds I have ever worked with. Our digital team is amazing. And our management team is the best I’ve seen in the industry.

And they all walk into this office every day believing they can do some of the coolest work in the industry for the best clients out there. Not many places can boast this kind of vibe. The talent at StrawberryFrog is incredible. It was time to be part of something bigger than simply a big company. I’m proud of all the things I’ve done prior to coming to the Pond, but it was time to believe in myself and the people and partners of this special agency.

3.  You are focused on innovation and creativity. How do you plan on making those attributes trickle down throughout StrawberryFrog?

For me, our most important asset is our culture. This place has incredible people who love the culture. It’s a huge open room space atop New York where people work closely together, respecting each other’s work. We have incredible momentum, and I’m looking to apply a little more structure to a very energetic strategic and creative environment. The mantra is… quality through focus, and focus through discipline… but keep it fun and empower the craziness.

4. What’s the first change you are going to make at Da Frog (i.e. process, communication, new hires, etc.)?

The place is doing pretty darn well. The question is how do we take it to the next level, especially this year when clients are going to ask themselves more than ever whether their big corporate agency is really worth all that cost and bureaucracy they’ve been putting up with.

The key is strategic and creative brilliance. We are investing in the best strategic thinkers in the business, and will build the agency by attracting the best seasoned talent in this space.

One of the first decision’s I’ve made is hiring Chip Walker as our new Director of Strategy for NYC, who reports to our chief strategy officer Ilana Bryant. Clients want strategic and creative excellence, and we deliver for the most respected clients by having the best strategic minds at Da Frog.

5. What work are you most proud of at any of the agencies you’ve worked for?

Without a doubt – Bank of America. The time I spent leading one of the largest and most complex teams in the industry was incredibly rewarding and helped take my game to the next level. I’m very proud to have been a part of their success.

6. What work do you consider to be your biggest failure?

In the name of discretion, “no comment” on naming clients. However, my big learning since coming to StrawberryFrog is that there is a better way. The Frog just does it very differently than the big traditional agencies. My failure until now was not bringing this kind of innovation to how clients are managed the way I am doing it here. The Frog is about innovation in strategy, creative and in tactics, but it is also in the way we manage major clients. Why should a major client have to have layers and layers of staff to manage their account? These days you can do it in much more effective and efficient ways. We need to be as innovation in our delivery as we are with our ideas.

7. People use the word innovation quite a bit. What does it mean to you?

It means working in ways that take advantage of all the new opportunities at hand to create culture for brands. It means to stop thinking like a dinosaur and using expensive media that is no longer as relevant as it once was. It means being open and curious, but also turning new energies into effective and proven strategies. It means rigorous measurement. It means having a staff that is crossover and hybrids, who can develop an effective digital campaign but also write a Cannes winning TV spot. Everything today is communications and culture. It’s about pushing our team and our clients to new and better places. It’s not always easy, but it’s where the business is going.

8. Based on that answer - name an agency or two who encompasses that definition of “innovation.”

IDEO