Thursday, October 30, 2014

Spolier Review - World Series

October is a month of full of franchises that have been long running.  Most of these are horror franchises such as Halloween, Saw, and most recently Paranormal Activity.  However, no franchise seems to have been longer running than World Series, now in its 111th installment.  The franchise has certainly had its ups and downs, but you have to commend the producers for consistent putting a product out year after year.  World Series took some bold steps in casting decisions this year, and I think they ultimately paid off, even if the first few acts were a bit of a bore.

Overall, the producers did a great job with casting.  It was a bit of gamble to bring in a complete unknown like the Kansas City Royals as the underdog protagonist, but it paid off in spades.  The audience couldn’t help but root for these no-name kids from the Midwest.  Given the pool of talent the producers had to work with, I thought it was a fine choice having the San Francisco Giants as the hated juggernaut.  It was pretty uninspired casting, but given that several other big names were unavailable, they fit the bill and played their role well here.

World Series has always been known for excruciating run times manage to pay off the longer they go.  This year was no exception.  The first six acts were pretty uneventful for the most part, but the final act was a treat for all who stuck around.  One of the things I’ve always appreciated about this franchise is that you can drop in at any time and really not miss too much.  Besides the development of the Bumgarner character, you didn’t miss much if you skipped the first six acts. 

The end was pretty fantastic, and best of all, it felt REAL.  How often do we see these scrappy underdogs get just what they need at the very end against their greatest nemesis?  It’s almost a cliché.  I thought the producers took a bold stand by getting the Royals right there in the end against Bumgarner (of course they brought him back; I think everyone saw that coming) and ultimately falling short.  The end achieved something rarely seen in this franchise: respect and adoration for both sides.  You couldn’t help but at least appreciate what the Giants had done, even if it was at the expense of the fan favorite.

I thought the technical work was fine.  The director heavily relied on static shots over the pitcher’s shoulder, which has always been a solid tried-and-true method.  I thought there were some nice aerial shots as well.  There were some great close-ups in the last act that really showed the emotion everyone was going through.  It was solid work as always.

Overall, World Series 2014 was a solid entry into the franchise.  I don’t think it will have the same iconic status as other entries in the franchise though.  We had an underdog protagonist that was easy to root for, and an antagonist that we came to begrudgingly accept in an ending that felt earned.  I don’t know if I’ll come back to the franchise when it inevitably comes back next October, but if the cast looks interesting, I may catch some of the later acts yet again.

+ Fun characters
+ Genuine ending that felt earned
- Interminably long

Grade: B

Thursday, October 23, 2014

Mediocrities Categories

The tentative list of categories is as follows:

Best Picture
Best Director
Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Writing
Best Cinematography, or Prettiest
Best Score
Best Scene
Worst Movie
Worst Performance

I added a page on the spreadsheet that goes into more detail.  For the lead acting categories, I added everyone that qualifies.  For the supporting categories, I think I got anyone that received any praise in our reviews.  I added a bunch of best scene candidates on the spreadsheet.  Add personal favorites, if only to remind us that they exist.

Any other categories worth adding?

Thursday, October 9, 2014

The Importance of Rewatchability


I’ve noticed more and more that people are mentioning whether or not they’d rewatch a movie, implying that it affects their grade.  I’ve touched on it before, but I’m curious now how much weight each of us puts on a movie’s rewatchability.  Personally, it means next to nothing to me.  There’s far too much easily accessible good media out there for me to ever factor this in.  Hell, the last movie I think I sat down to rewatch was The Two Towers, and that was two years ago.  (Not counting movies for MMC of couse.)
Like I said, with so many options out there, what is the appeal to rewatching anything?  I know it helps a little with comedy, as some jokes are better the second time around, but with a Western like Butch Cassidy or a documentary like Dear Zachary, does a rewatch really help?  And isn’t that experience powerful enough especially with Dear Zachary to stand on its own?  And at the same time, why would you choose to rewatch any movie when you could watch something like The Graduate or Apocalypse Now for the first time?  I loved Apocalypse Now and gave it an A – I have no desire to ever watch it again.  I had a great experience with it; why change how that went with another viewing?
I’m also getting to the point where the need to rewatch a movie is becoming a negative for me.  This is why I bumped my Major League grade down to a B after watching it recently, and I should probably revise my Anchorman grade, b/c it has this same dilemma.  Saying a movie needs watched again is almost an apology for the content.  90% of a typical movie’s audience will only see the movie once.  I see it as a small failure of the director that their movie needs to be consumed multiple times in order to “get it.”  That’s what makes a movie like Inception so impressive – the plot is nuts and complicated, yet you can catch everything in a single viewing so long as you’re paying attention.

Now, that being said… My next pick is a movie we’ve all seen, so I’m definitely bucking the trend whenever I get to pick again.

Sunday, October 5, 2014

Spoiler-free Gone Girl Review

As I watched the previews for “Gone Girl,” I couldn’t help thinking that 2014 has blessed us with a stacked Awards’ Season.  With “Interstellar,” “Fury,” “American Sniper,” and “Exodus: Gods and Kings” coming soon (yes, I’m sucker and am cautiously optimistic for Exodus) as well as some fun big-budget stuff like “Mockingjay” and “The Battle of the Five Armies” out there too, I was thinking that Gone Girl might be good, but I doubted I would walk away thinking it was going to be a guaranteed multi-Oscar winner… And lo and behold, that’s exactly how I felt.

If you’ve seen “The Social Network,” you should know what you’re getting into stylistically with Gone Girl.  The movie looks like a David Fincher movie, and that’s a good thing.  It wasn’t over-directed in any sense, but we get several great shots, particularly during a pivotal scene near the end of the movie that I won’t get into.  Trent Reznor and Atticus Ross are on music like in Social Network, and they did a fantastic job of using the score to lead the audience to the exact emotions Fincher is trying to portray.  Reznor and Ross are probably the early frontrunners for Best Original Score in what is the first of many nominations this movie will garner come Oscar time.

Gone Girl will likely also walk away with Best Adapted Screenplay without any real competition.  The movie is 145 minutes long, but it’s a VERY quick 145 minutes.  Gilllian Flynn wrote the movie as well as the novel it’s based on, and she did a fantastic job bringing the story through a very dense plot with quite a few events to stuff in.  Best of all, unlike a previous Fincher film we’re all familiar with, “The Game,” this is a movie that stands on its own even after knowing the twists.  I credit that to the story Flynn wrote and, more importantly, the characters in that story.

Kissel said on the Facebook group that he was worried about this movie being spoiled if he doesn’t see it soon.  He’s probably right; I give it about two more weeks before SNL does something involving Amy Dunne, amazingly portrayed by Rosamund Pike.  Pike is getting a Best Actress nomination for her work here.  Pike plays Dunne through several stages of her disastrous five-year marriage with Nick, and she nails all of them with flying colors.  Based on everything else coming out this year, I don’t know how she gets beaten for the award. 

Pike’s performance overshadows the rest of the cast, but I also wanted to call out Carrie Coon and Nick’s sister Margo.  Coon has had a breakout 2014, playing the sympathetic and nutty Nora on “The Leftovers” as well.  This will probably be where most people discover Coon, and she’s very good as Margo.  Ben Affleck as Nick does a good job as the bumbling straight man for a large portion of the movie.  He will probably not get any accolades, but he was good.

I have no real qualms with this movie other than the historical inaccuracies that no one was talking about quinoa in 2007 and Nick is seen playing Battlefield 4 in a 2010 flashback (game came out in 2013).  Ugh, fact check fools.  Ok, I do have one thing I didn’t like, but it’s a semi-spoiler that I will not get into now.

As you can tell, I loved Gone Girl.  If it came out in 2013, it would have definitely given “12 Years a Slave” a run for its money (haven’t seen 12 Years yet, so I can’t definitively comment, but considering “American Hustle” was so talked about, I think my statement is fair).  It’s David Fincher at his best, masterfully creating a dark and creepy thriller that will stick with you.

+ Rosamund Pike
+ Carrie Coon
+ Great Script that makes 145 minutes fly by
+ Fincher doing really good Fincher stuff
+ Reznor and Ross with another awesome score
- [REDACTED – SPOILER]

Grade: A+

Please do not post spoilers in the comments!  Once enough of us have seen it, we can start a separate spoiler thread.


Wednesday, September 24, 2014

What Phil Claimed about Beatles Fans

 Phil posited, "Whenever anyone under 37 tells me their favorite band is The Beatles, I always ask the same two questions: 1) Are your parents huge Beatles fans and 2) Do you go to a lot of concerts. I almost invariably get the same two answers: yes and no. That tells me they just aren’t a big fan of music in general and they’re purely tapping into nostalgia. They choose the Beatles b/c it’s a fairly inoffensive answer and they don’t have much more to draw on. I got bad news for you: The Beatles have been iterated on. If you asked an alien to listen to the Beatles and Oasis and asked the alien who the better band is, it would pick Oasis..."

Most of you know I am a huge fan of The Beatles and will often defend them when people attempt to trash them or their fans. When Phil claimed Beatles fans are not well educated in music, I immediately became interested.  Here my answers to your questions.  1) No  2) No.  My dad is not a huge fan but was like everyone else growing up in America throughout the 1960s - typically enjoying The Beatles. My mom is a big Patsy Cline and Elvis fan.  She appreciates The Beatles but not exactly a big fan.  I turned on to them when I was teenager because I would rather listen to Rubber Soul (one of their better albums) than any rap or the pop shit on the mainstream radio during the mid to late 90s.  When I heard the White Album, Revolver, and Abbey Road, I was sold.

Why do I not go to concerts?  I don't like the atmosphere.  I saw O.A.R. live and it was fun but I could easily enjoy "Crazy Game of Poker," "City on Down," and "This Town" through my home stereo system and/or phone.  I saw Lifehouse and Dot Dot Dot at the Bluebird when I lived in Bloomington and the both put on great shows but I hated feeling trapped.  I have no interest in being around a mosh pit or a lot of weed so concerts aren't my scene.

Yes, Phil is correct that The Beatles were iterated but way sooner than Oasis.  The Beatles kicked off the British Invasion during the mid 1960s and were successful.  From their success, we heard from other noun based bands prefaced by an article such as The Rolling Stones, The Who, The Zombies, The Hollies, The Animals, The Kinks, The Moody Blues, The Troggs, and The Yardbirds.  So yes, Phil, The Beatles were iterated but they also iterated other bands,  One song that gets mistakenly credited to them is "Twist and Shout."  That song belongs to the Isley Brothers, it's just that The Beatles did it better.  They also covered Buddy Holly's "Words of Love," and it sounds better than the original. The Beatles get mimicked when bands don't even know they are doing it.

Now, Phil specifically mentioned Oasis as iterating The Beatles.  The Beatles were a four member band with each member playing an instrument and singing.  Oasis had (have?) five members and more or less resemble The Rolling Stones.  Why compare them to The Beatles?  Because they're British?  Well, so are the Stones and have the same amount of members, so why not the Stones?  Would Phil think the same way if someone said The Stones were his/her favorite band?  The Who?  Zeppelin?  Aerosmith?  Hahaha - Aerosmith...anyway.  I think it comes down to the fact Phil doesn't like The Beatles or that they are consistently ranked as the top band by Rolling Stone Magazine. I sense some jealousy.

Finally, Phil stated that "if you asked an alien to listen to the Beatles and Oasis and asked the alien who the better band is, it would pick Oasis."  That has to be one of the dumbest things I read and sometimes I read an editorial from Fox News.  I can think of three big hits from Oasis: "Wonderwall," "Champagne Supernova," and "Don't Look Back in Anger."  I can think of twenty - seven number one hits from the Beatles so let's contrast.  "Get Back" or "Wonderwall"...."Hey Jude" or "Wonderwall"  "All You Need is Love" or "Wonderwall"..."Eleanor Rigby" or "Wonderwall"...."Help!" or "Wonderwall"....yeah, an alien would not pick Oasis.  I think Phil just enjoyed this SNL skit too much and believed what the Will Ferrell character said

So Phil, I understand I am not like all Beatles' fans you encountered.  After all, I worked as a DJ/Producer in college (big whoop) and had to keep up with new music every week.  To dismiss all fans of one band is way too simplistic.  C'mon, us Beatles' fans are not Yankees fans.  When someone asks me what is my favorite band, I have a tough time answering it because I love Soundgarden, Nirvana, Alice in Chains, Boston, Journey, Florence + The Machine, The Shins, Mellencamp, and many many others.  I then ask the questioner, "of all time?"  If that's the case, it is The Beatles...without hesitation or equivocation. 

Thursday, August 7, 2014

Genres: The Debate Continues

Hartman was right all along.  If we're going to do genres, it needs to be formalized.  I started with this link and mostly stuck to it: http://www.filmsite.org/genres.html

Genre proposition is as follows:

Action (sub-genres of Martial Arts (Ong Bak), Superhero (The Avengers), Exploitation (Machete), Spy (Skyfall), Disaster (Sharknado), Revenge (Kill Bill), Bad-Ass (Con Air), Chase (The Fugitive), Revolution (Hunger Games))

Adventure (sub-genres of Treasure Hunt (National Treasure), Fantasy (Lord of the Rings), Journey (Life of Pi), Life Story (Forrest Gump), Swashbuckler (Aladdin))

Comedy (sub-genres of Spoof (Austin Powers), Satire (Office Space), Slapstick (Ace Ventura), Raunchy (There's Something About Mary), Character-Based (Funny People), Romantic (The Ugly Truth), Sports (Major League), Drug (Pineapple Express))

Crime (sub genres of Mafia (Goodfellas), Heist (Ocean's Eleven), Small-Time (Fargo), Gangster (Pulp Fiction), Police (French Connection))

Documentary (sub-genres of Activist (Blackfish), Participatory (Farenheit 9/11), Personal (Dear Zachary), Investigatory (Standard Operating Procedure), Competition (King of Kong), Nature (March of the Penguins), Verite (Only the Young), Performance (Conan O'Brien Can't Stop))

Drama (sub-genres of Historical (Lincoln), Biopic (Walk the Line), Romance (Punch Drunk Love), Family (Little Miss Sunshine), Workplace (Glengarry Glen Ross), Psychodrama (Fight Club), Sports (Rocky), Ensemble (Crash), Coming of Age (Stand By Me), Character Study (There Will Be Blood))

Epic (sub-genres of Sword and Sandals (Gladiator), Heroic (Braveheart), War (Apocalypse Now))

Horror (sub-genres of Torture Porn (Saw), Slasher (Friday the 13th), Serial Killer (Se7en), Satanic (The Exorcist), Home Invasion (Straw Dogs), Psychological (The Shining), Creature (Jaws), Ghosts (Sixth Sense), Zombie (28 Days Later), Mythical (Dracula))

Musicals

Science Fiction (sub-genres of Space Travel (Sunshine), Aliens (Alien), Technology (Terminator 2), Time Travel (Back to the Future), Space Opera (Star Wars))

Westerns (genres of Classic (3:10 to Yuma) and Revisionist (Unforgiven))

What do you think?

Wednesday, July 30, 2014

Summer TV


In terms of media entertainment, it’s tough to get much worse than July.  If you’re a big movie fan, all the major summer blockbusters are out, and now we’re getting the garbage action stuff.  (Hercules will surely be a guilty pleasure for me though.)  If you’re a sports fan, all you got are preseason NFL reports and dog days baseball.  If you’re a video game fan (like me), you’re getting a lot of solid one-off experiences while waiting for the fall tidal wave.  And if you’re a TV fan, you’re getting the stuff not good enough for the fall/spring, save a couple hidden gems.  So, with that, what the hell is everyone watching?  And better yet, is there anything good out there?  In case you wanna jump into something, here’s how everything is doing in the ratings…

Here’s what I’m watching, from most interesting to least…

The Leftovers

Synopsis: The Leftovers takes place three years after a global "Rapture", which caused the unexplainable disappearance of 2% of the world population. It centers not on the people who were taken, but on the ones left behind, in the hamlet of Mapleton, New York.

My Thoughts: Fantastic concept on paper that is being done… fairly well.  The show mainly follows the town sheriff and his fractured family, using them as a conduit to give us how various groups have come to terms with the event.  Since it’s from the creator of Lost, it’s not surprising that the mystery is the draw.  I also have issues with the central storyline revolving around a strange cult known as The Guilty Remnants. 
(Side note: I was 99.99999% sure that we would not see an on-screen death more gruesome than “you know which one” from Game of Thrones in all of 2014.  HOLY BEJESUS WAS I WRONG.  The one from this week’s episode takes the cake, the pie, and any other desserts you would be offering up.)

Nathan For You

Synopsis: In the series, Fielder plays an off-kilter version of himself, who tries to use his business background (a commerce degree from the University of Victoria (UVIC) in 2005) and life experiences to help struggling companies and people, offering them strategies that no traditional business consultant would dare to attempt.

My Thoughts: PLEASE TELL ME SOMEONE ELSE IS WATCHING THIS SHOW!  It’s amazing.  Easily the best thing on during the summer.  I have the infamous “Dumb Starbucks” episode DVR’ed currently.

Tyrant

Synopsis: Bassam "Barry" Al Fayeed is from the war-torn fictional country of Abbudin. He has been living in self-imposed exile in Los Angeles for nearly 20 years. Barry, the younger son of Abbudin's dictator, ends his exile to return with his American family to his homeland for his nephew's wedding. His arrival leads to a dramatic culture clash, as he reluctantly returns to the familial and national politics he once left.

My Thoughts:The trailer drew me in and I’ve never watched any FX drama, so why not start here.  I’m not sure I’m gonna last with this one.  Character actions are pretty silly for a show taking itself so seriously, and the potential for the "White Savior" is taken to the nth degree in such an unbelievable way (yes the main character isn't white, but the concept is analogous).

Wilfred

Synopsis: The show follows a young man named Ryan (Elijah Wood) and his neighbor's dog Wilfred (Jason Gann). In the opening episode, Ryan concocts a drug cocktail in order to commit suicide. After this failed attempt, Ryan's neighbor, Jenna (Fiona Gubelmann), knocks on his door to ask him to look after Wilfred, whom Ryan sees and hears as a man in a dog costume.

My Take: I’m dangerously close to “hate-watch” territory with this one.  I just want to see how it ends, and I’m very much prepared to be let down big time.

Thursday, July 10, 2014

Emmy Nominations

Here's a solid list of the Emmy nominations with some commentary from Metacritic...

http://www.metacritic.com/feature/2014-primetime-emmy-nominees

No point in going to the insanity that networks get to classify their stuff as comedy/drama/miniseries, as that's a whole other post.  I'm just going to throw out my very unresearched and uninformed predictions in the Drama and Comedy categories.

Drama

Outstanding Drama: We all missed Downton Abbey in the prediction post.  Hey, here's a fun fact - only ONE of these shows aired more than 10 episodes this Emmy year (House of Cards).  Game of Thrones at 10 was second highest.  Even though it should be in miniseries, I'll go True Detective.  Definitely commited to a vision, and it was strong start to finish.  I still think it's cheating it's even in here.
Lead Actor: You know Jon Hamm is licking his chops for 2015.  Regardless, Cranston and McConaughey are a total tossup if you ask me.  I think the voters go with Matthew McConaughey b/c they only have one shot and he definitely deserves something.
Lead Actress: Only show I've ever watched on this list is Scandal, and Kerry Washington ain't winning for that performance.  I'll go chalk here: Claire Danes.
Supporting Actor: It would be a travesty of the highest order if Peter Dinklage lost.  I'm guessing he'll be the biggest favorite to win in the Drama races.
Supporting Actress: I thought Lena Headey had a strong season, so why not?
Guest Actor: I feel like this is a dark horse pick - Joe Morton  made every scene he was in better in Scandal.  I'll go with him.  Bert Cooper is definitely not winning.
Guest Actress: No clue as I only watched three of these shows.  Of those I do watch, Diana Rigg is a standout.
Writing: Maybe I'm crazy, but this one feels like a slam dunk for Moira Walley-Beckett.  Even though I didn't watch Breaking Bad, I've heard how great "Ozymandias" was. 
Director: Another slam dunk.  Cary Joji Fukunaga locked this sucker up with one shot.

Comedy

Outstanding Comedy: I really hope Modern Family doesn't win, only because it's not as good as its legacy would suggest.  Nope, give this one to critic darling Orange is the New Black.
Lead Actor: Jeez, I watch none of these.  Just b/c I like him, Louis C.K.
Lead Actress: Stacked group.  Amy Poehler deserves to win for Leslie Knope at some point, but not sure it's this year.  Julie Louis-Dreyfus in a walk probably.
Supporting Actor: I thought Andre Braugher was great in Brooklyn 99.
Supporting Actress: No clue, as I don't think Kate Mulgrew is one of the stronger OITNB performers.  I thought Anna Chlumsky had a strong year in Veep, so I'll go that route.
Guest Actor: Gary Cole dominated in Veep with a fun role.  Sure.
Guest Actress:  Wow, there are all the OITNB noms.  One of 'em is probably gonna win, and it should probably be Uzo Aduba, who had the toughest role and nailed it.
Writing: No clue.  Veep's writing is always strong, so Simon Blackwell, Tony Roche, Armando Iannucci.
Directing: Hey remember when everyone watched Glee?  Anyway, just b/c they won't shut Modern Family out complete, Julia Mancuso.

Grading Philosophies


Having now completed one full round of Mediocre Movie Reviews, I can’t help but think about our similarities and differences in grading philosophy.  I have been trying to gauge how most of us grade movies, and I feel that we all approach things at a slightly different angle.  This is definitely a good thing – it’d be extremely boring if we all just gave out the same grade.  It’s fun to have divisive movies like Machete Kills out there; the most interesting discussions have come from the movies that divided us the most.  That being said, I was hoping each of us could briefly sum up how we grade movies, just to give the rest of us a better idea where we’re coming from with our grades.
Now, I know on the spreadsheet, Kissel has included his "rubric" if you will.  I’m glad that works for him, but it feels a little too “checklist” for me personally.  I have a feeling that if Kissel took a Myers-Briggs personality test, he’d score high in the Sensing category (See: http://www.myersbriggs.org/my-mbti-personality-type/mbti-basics/sensing-or-intuition.asp).  My personality type doesn’t jive with that sort of system (I’m pretty in the middle on sensing vs. intuition, but I tend to end up closer to the side of intuition), and I end up grading on a much more blurry scale.  That said it’s impossible to give out a grade without having some sort of criteria.  Here are some of the questions I ask myself when formulating my final grade for a movie:
Did this movie achieve its implied objective? – This is far and away my biggest consideration.  Not every movie is made to be a best picture nominee.  If the goal of a movie is to make me think, and it makes me think, I’ll probably give it a decent grade, regardless of my enjoyment.  Not surprisingly, this is VERY difficult to do with comedy, as comedy is so subjective and drawn from personal experiences.  We all have those movies that we basically say “I get it.  Someone probably finds this funny.  I’m just not one of them.”  The example that sticks out to me for this is Bad Santa.  I don’t remember what grade I gave it, but it’s an F- for me personally.  I probably gave it a higher grade because I know some people do find that crap funny, and Billy Bob does a good job of acting in it.

Did I enjoy this movie? – Seems simple enough, but I figured I’d point out it isn’t my chief concern when grading.  As difficult as it can be, I try my damnedest to remove my personal taste best I can.  For example, I must admit that I enjoyed The Game more than Holy Motors while watching.  However, I gave Holy Motors a higher grade.  I felt that it was definitely a better movie, even if it didn’t necessarily enjoy the experience.  This is an issue I will forever have with character pieces.  To me, they tend to meander.
Would I rewatch this movie? – This is a concern depending on the type of movie.  There are several movies I absolutely love that I really don’t need to watch again.  My brother has a theory that many movies only have so many “good watches” in them.  Eventually, you just can’t be emotionally impacted by them anymore.  Gladiator is maybe my favorite movie ever, but I’m pretty confident I’ve exhausted all my “good watches.”  Likewise, I still have a few in the bank for Shawshank Redemption, and I’ve made sure to save them.  Comedies and action movies need to be rewatchable to be good.  They have to pass the “channel surfing test” that I referenced in my Machete Kills review.  The “channel surfing test” is simple – if I were flipping channels and saw this movie on, would I stick with it, and if so, for how long?  If a Rocky movie is on, I might stick depending on what the scene is.  If The Two Towers is on, I’m almost assuredly going to be sucked in for the duration.

Is this movie meant to be watched this way? – Let’s face it, some movies stand on their own, while others demand an experience.  I’m not talking Rocky Horror Picture Show levels necessarily, but some movies are undeniably better to watch in a group.  Not to keep referencing it, but Machete Kills feels like a movie that is meant to be watched with a group of people while everyone is drinking.  Pineapple Express is meant to be watched while stoned (probably).  Again, this is tough to consider, and even tougher to simulate for the purposes of this group.  I wonder what our Machete Kills reviews would have been had we all watched it together, then reviewed on our own after the fact.
That’s a quick summary of some of the things I consider when reviewing.  I know there are a handful of things I do not consider while others do.  Here are two of the biggies that I’ve seen mentioned in other reviews on here that I don’t personally ascribe to.

One of the big things I do not consider that I think many of us do is time & place for older movies like Taxi Driver.  I kind of understand the social climate going on, but I wasn’t watching in 1976.  I watched the movie in 2014, and I want to discuss how the movie felt to me in 2014.  Most people aren’t going to pick up on cultural subtleties of the movie, as they may not have that personal well of knowledge to draw from.  I can only review the movie as a cultural outsider, so I’ll review it from that perspective.  An older movie doesn't necessarily have to draw on its time and place to be interesting.  Some movies are timeless and translate in any climate (see: The Graduate).

I also do not consider whether or not I actually remember the plot.  For the most part, people have terrible memories when it comes to the plot of anything, especially for movies they’ve only seen once.  I cannot tell you a great number of details from Big Fish.  However, I remember the experience and how it made me feel at the time.  If that was strong enough, then it’ll get a higher grade from me.  Many older movies that I did not grade were movies that I watched but could not remember for the life of me any major plot points or my own feelings.  Odds are these are a bunch of B-/C+’s for me, but it probably wouldn’t hurt to rewatch and figure it out before actually grading.
So, with that, how does everyone else grade?  Do you have a checklist method?  Is it purely based on your enjoyment?  Or are we all reviewing the exact same way?

Thursday, June 19, 2014

Revisiting Westeros - GoT 1: Winter is Coming

While we wait for this Holy Motors debate to take over our lives (I'm calling it; it will happen), let's begin the "who knows how often I'll actually do this" series we were all waiting for: REVISITING WESTEROS!  Yes, I actually did sit down and watch the very first episode of Game of Thrones for the first time since its original airing.  Some thoughts from that original episode (Spoilers for anyone not caught up are coming):

  • I miss Ned Stark.  Sean Bean, bad ass.  Pretty much all you need to know about Ned is in that initial scene where he executes the deserter of the Night's Watch.  "The man who passes the sentence should swing the sword."  Good on you Ned.
  • The show felt so much more light-hearted, but that's probably b/c the tragedy isn't until the end.  Watching all the Stark kids interact together was heart-warming and depressing at the same time, knowing where all of them are now.
  • If you need a reason to watch anything in this episode, go back and watch Tyrion's first scene.  His hair is RIDICULOUS.  They gave Dinklage some emo blonde wig that looks completely insane.  I'm fairly certain the wig didn't even make it to the end of the episode.  I have no idea why they didn't just reshoot that scene.
  • Cersei's character has not changed in the slightest.  Every living character has become someone much different.  Not her.
  • I forgot Jon's relationship with Catelyn.  What a bitch, huh?  Jon's relationship with much of the family was interesting.  Of course, it was only for motivation purposes.  I can't see how any of it affects the remainder of the story at this point.
  • Speaking of living and dying, here's a list of the cast of this episode, and where they are now.  Not surprised which list is longer.  Enjoy!

Sunday, June 15, 2014

Game of Thrones 40: The Children

Well, we have 10 months to talk about this one, so make it count!

What does Jon Snow know now? We all happy to see Mance back? Where the hell does Stannis come from? Can you fit that many horse through Castle Black's gate so fast? What exactly is a proper northern drink, anyway?

Can we get Maester Aemon in every episode? Every damn one. Speaking of not Maesters... what's going on with the Mountain?

Welcome back Emilia Clarke, am I right? But, why didn't Daeny tell the ex-slave he can work for his old master, instead of this slave contract thing? Burning toddlers now, Drogon... not cool. Did you get teary eyed for the dragons? Where are your dragons!?!?! Oh, in the catacombs, where you put them.

Skeletons! Any other Skyrim players get excited for this? Any body else get a quick sad feeling for Hodor again? Is that a tree, or a person... it's no raven with three eyes! How's Bran gonna fly?! He could have used that ability in episode 1.

How about Cersei, letting her dad in on the family secret? Shouldn't he be proud.. that's a lot of Lannister blood in those grandchildren!

Who would you have bet on between Brienne and the Hound? More perplexing.. how the hell did Arya and The Hound get away from the gate... I questioned this before, and still do. They wouldn't just let them walk away would they? Logically speaking, Littlefinger and Sansa may have paid good money for Arya, right? Oh well.  Should Arya have given him mercy? Is he dead?!  Anybody forget she was carrying that coin around?

Oh, Tyrion... you just couldn't leave without causing a ruckus, could you? What'd you think about Shae's last moment? In the end, Tywin shit, but not gold, eh? Give me some thoughts on that conversation! Any guess as to where that crate is headed?

I'm sure there's more to talk about... and much to speculate on for next season, especially if you like Dornish things!


Perfect World Emmy's

With the end of Game of Thrones tonight, the 2013-14 Emmy season is basically over.  Nominations get announced next month, and though the Emmy's aren't as clueless as the Oscars, they still make a lot of weird choices.  Focusing on the drama category, I'm curious about which six shows you'd all pick.

As far as shows likely to be nominated, True Detective, Breaking Bad, and Game of Thrones are sure things, and would absolutely make my list.  Hannibal had a spectacular second season, but it has no chance of recognition.  A season that included a dead woman sliding out of a dead horse, or a drugged psychopath eating his own face, isn't going to make the clip show.  Mad Men is doing the bullshit split final seasons that Breaking Bad did, and though I hate that format and AMC for running out the string, it still had a great seven episodes, maybe the best they've ever done.  It might get a nomination but the Emmy's have been pushing it aside for Breaking Bad and maybe True Detective this year.  Lastly, Boardwalk Empire might've had the single greatest episode of the whole season in its season finale.  Not enough people watch it, it probably won't get a nomination, but a season that ended as perfectly as that one did is deserving of all the awards.

If I gave the award, it'd go to Game of Thrones, but in real life, Breaking Bad or True Detective are going to win, with GoT as a dark horse.

The Americans is in the next six.  So is Justified and Parenthood.  I don't watch Homeland or House of Card, and The Walking Dead is... not great.  What do you guys think?

Friday, June 13, 2014

Our Most Divisive Movies

Since it's Friday afternoon and I'm basically just running out the clock at work, I thought I'd look at the ol' spreadsheet and figure out what movies we are the most divided on.  I copied the sheet to excel and calc'ed a variance on all of our grades.  Here are our top 3 by the number of viewers....

8 of 8 Viewers

None - there is not a single movie all eight of us have graded.  Amazing in and of itself.

7 of 8 Viewers

1) Only God Forgives (Average = 1.12, Variance = 1.8) - Grades mostly range from bad to worse with Joe actually liking it.  I'm the only one who hasn't seen it.
2) Bad Santa (2.9, 1.17) - Lot of range here, with four liking and three mostly meh.  Joe has not graded.
3) Pulp Fiction (3.57, 1.06) - Most love, but Bryan and I were not fans.  I don't know what you all see in this movie - Tarantino has four better movies probably.  Joe has not graded.

6 of 8 Viewers

1) Ted (1.25, 1.98) - Besides Riley and me, this is not a Ted crowd.  A 1.25 grade average for this movie is absurd.  Bryan and Joe have not graded.
2) Scott Pilgrim vs The World (2.39, 1.93) - Not surprising; this is a naturally divisive movie.  Drew's F seems unnecessarily harsh.  The Setnors have not graded.
3) Blade: Trinity (2.14, 1.56) - Shane's A+ is throwing the whole curve on this one.  Bryan and Joe have not graded.

5 of 8 Viewers

1) Requiem for a Dream (3.00, 2.00) - No B's, just A's, a C, and a D.  Bryan, Joe, and I have not graded.
2) This is The End (2.47, 1.92) - Not totally surprising, as you have to have a certain level of insanity to go for this comedy.  Also requires liking Pineapple Express to really enjoy the funniest sequence of the movie.  Bobby, Joe, and Sean have not graded.
3) Big Fish (3.13, 1.7) - Primarily dragged down by Bryan's D, as all others enjoyed it.  Jon, Joe, and Drew have not graded.  It's one of my favorite movies ever personally.

4 of 8 Viewers

1) The Fly (2.25, 2.92) - Biggest variance of the bunch.  Bryan, Joe, Drew, and I have not graded (and I never will).
2) Where the Wild Things Are (2.00, 2.74) - How Jon gave this shitshow an A is beyond me.  My C- feels generous.  Shane, Joe, Drew, and Sean have not graded.
3) Into The Wild (1.42, 2.47) - Once again, Jon and his A- have some explaining to do.  Shane, Joe, Sean, and I have not graded.

Any thoughts on some of these?  Surprised only one "club pick" is on there?  I thought it was an interesting list in some instances.  Many of these aren't normally considered divisive, but I guess we're not normal.

Sunday, June 8, 2014

Game of Thrones 39: The Watchers on the Wall

Not many episodes occur completely in one place... and here we are at the Wall for an hour. So...


Give me your thoughts on Aemon... because he's awesome and deserves some Sidepiece time.

Non book readers... when Sam promised not do to die, did you assume he's gonna die (aside from your Team America connection)? I mean, it's the Game of Thrones..  you can't make that promise!

"Jon Snow is mine..."  Did she mean to kill, or to keep?  Why didn't she keep her word when the Magnar of Thenn was fighting Jon!?

What'd you think of the Giants, Mammoths?  Mags running at the inner gate? (a part of me wanted to see what took place down there, and not just the aftermath. It would have been more dramatic at least, if somebody went to check in there earlier, right?)

The contraption on the wall to stop the climbers? Where was that when Jon and them were climbing the wall before?

Ygritte's hesitation to kill Jon... was she going to? How'd her last moments feel for you?

Pyp, Grenn?

How's this compare to Blackwater, for you?

The tracking shot... brilliant. I don't even have a question about it. It was easily the highlight of the episode for me. Shane and I discussed it while playing our NCAA football game online... and the only thing I think we've seen this year on tv that was better was True Detective's single shot scene.

I suppose there aren't many specific questions to ask... since everything happened in one place. I really liked this episode (I saw a bunch of comments about how intense it was, and i think it got my expectations up, but i didn't feel much intensity as much as just quality action), and think it's one definitely in the upper few for this season.





Friday, June 6, 2014

Hannibal Lecter

Once upon a time there was some discussion about Hannibal Lecter on our Facebook chat.  At the time I recall debating Mads Mikkelson's performance on NBCs Hannibal as being on par with Hopkins and potentially even better in moments.  I think my opinions were based on my most recent viewings of Hopkins in Hannibal.  I've just rewatched Silence of the Lambs and two scenes stand out as untouchable.

First- are introduction to Hannbal- standing with his perfect posture very prim and proper he is clearly a type of character we have never seen before.  When he asks Clarice what Miggs said to her and she replied in truth that Miggs said he could smell her cunt.  He paused before saying that he could not.  That pause was a thing of beauty.

Second- the scene again with Clarice in Memphis prior to his escape.  They're pressed for time and speaking much more rapidly now.  His intensity in their dialogue while forcing Clarice to both share and come up with the answers herself by only offering guidance on Buffalo Bill was amazingly good.

I love what Mads has done with the role and I look forward to binge-watching season 2 very soon, but he doesn't quite match Silence of the Lambs Hopkins.

Hannibal performance grades
Silence of the Lambs-Hopkins- A++
Hannibal-Hopkins A-
Hannibal Mads- A


p.s.- Jodie Foster is good too but Julianne Moore holds her own in Hannbal.

Tuesday, June 3, 2014

Game of Thrones 38: The Mountain and the Viper

What did everybody think? This was definitely one of the most anticipated episodes... as we knew something major was about to happen. Did it live up to the hype, where you let down, was it better than you expected?

The wildlings in Mole's town, Ygritte's decision?

Reek, Theon at Moat Cailin?

Jorah Mormont and the letter... Khaleesi's reaction?

Grey Worm and Missandei?

Littlefinger with the Lords of the Vale... Sansa's performance and change?

Arya and the Hound... the laughter, their future?

Tyrion's tale of the beetles....

And of course the trial by combat? The fight itself, the camera work, the actors, the result... the confession, the verdict?

Satisfying TV Deaths

BREAKING BAD AND SOPRANOS SPOILER BELOW

Joe texted me this morning about how he thinks the murders of Phil Leotardo and Dead Eyed Todd from Breaking Bad are the most satisfying murders in televisions history. I can't disagree on on Phil at all. I even laughed I think.

But Todd made me sad. Jesse, who obviously struggled with Gale's murder, is no doubt going to struggle with this one. The murder of Todd was pure vengeance that solved nothing. I would argue that he lost more of his humanity in killing Todd as opposed to killing Gale. With Gale he was purely manipulated into doing something horrific to save someone's life. With Todd, it was pure, selfish rage. Sure, he's got all that time of being a slave cook to deal with, but that murder will haunt him. It's sad.

(Let's also not pretend Gale wasn't in the game just the same as Declan. Gale's hand were dirty. No one laments over Declan's murder like they do Gale's because Gale was this quirky and relatable nerd and we knew nothing of Declan other than he was also a cook. "You play in dirt, you get dirty.")

So any other TV deaths?

Joffrey was certainly satisfying. Maybe Arzt in Lost as well. (Artz!)

Monday, June 2, 2014

Great Video Game Narratives

Bobby and I inadvertantly fell into a little question of great video game narratives while discussing Taxi Driver.  Kissel mentioned that Taxi Driver is from a time period known as the "golden age" of cinema.  I would say we are currently in what could be best described as a similar golden age for video game narratives.  While it's nearly impossible to have as strong of a story as many amazing movies in the video game space, we are seeing an incredible amount of great stories in games in the 360/PS3 generation, especially later in the generation.  I named a few of my favorites in the Taxi Driver thread, and I figured I'd elaborate on my top 4 here...

4) The Last of Us - A mysterious virus wipes out an extremely large portion of the world's population, leaving the last few humans in a desperate fight for survival.  Set 20 years after the outbreak began, the story primarily follows Joel, a broken man probably in his late-40's who takes odd jobs to survive, who accepts a job to escort a young girl, Ellie, across the wasteland that is the United States.  Clearly drawing inspiration from 28 Days Later and The Walking Dead, Joel & Ellie encounter various packs of "infected" humans, which range from 28 Days Later "fast zombies" to some pretty twisted abominations, most notably the "clickers." They also encounter even more dangerous marauders and savages among their own kind.  It's a series of amazing shorter stories sprinkled into a solid overall narrative.  I could touch on some of the fascinating characters that are met along the way, as each meeting brings a new perspective into a world teetering on the edge of survival.  (Total Play Time: 15 hrs)

3) The Mass Effect Trilogy - The overall narrative of the desparate struggle for the survival of the galaxy doesn't even become clear until about 3/4th's of the way into the first game.  As Commander Shepard, you take it upon yourself to unite the galaxy and stop the impending doom about to befall it.  The story has been done before to an extent, but what hadn't been done quite like this in the past was the individual character development.  You cared about your squad, and it was brutal to have any of them killed, especially when you could have avoided it.  I particularly loved the final game's story, which was absolutely relentless as you sped on to the finale.  (Total Play Time: 40 hrs "critical path"/100 hrs completionist)

2) The Walking Dead Season One - This one can be considered a "high concept" story: a man rescues a young girl and agrees to help her find her parents amid the beginning of a zombie apocalypse.  This drives the bulk of the story, and the relationship that develops between Lee & Clementine is among the most well-realized of any form of media, video game or not.  Every character in their survivor group along the way is also fantastic, each with their own motivations and personalities that were memorable for anyone who played them.  Even Ben, a near throwaway character, was better realized then some main characters in full on trilogies.  (Total Play Time: 12 hrs)

1) Spec Ops: The Line - There are hundreds of military shooters out there, but none of them actually analyzed the real ramifications of war on the innocent and the soldiers quite like The Line.  The premise is simple: you are in command of a small reconnisance team tasked with learning the fate of their fellow soldiers in post-attack Dubai.  The early part of the game is ho-hum enough, but there is a serious turning point about midway through.  We're talking legitimate war crimes here, and the effect they have on those responsible.  Worth noting you can play the ending multiple ways, and the "bad guy" ending is downright chilling.  I've never finished a game and just stared at the credits thinking "WHAT HAVE I DONE?!?!?!"  quite like I did after finishing this one.  (Total Play Time: 6 hrs)

Those are my personal favorites.  A few more that I have played if you're curious....

Bioshock Infinite (15 hrs)
InFamous (12 hrs crit path/20 hrs completionist)
Thomas Was Alone (3 hrs)
Journey (2-3 hrs)
Dragon Age: Origins (30 hrs crit path/50 hrs completionist - story is clearly derivative of Game Of Thrones)
Final Fantasy XIII (40 hrs)
Fable II (20 hrs crit path/50 hrs completionist)
South Park: The Stick of Truth (12 hrs crit path/20 hrs completionist)

Friday, May 23, 2014

Mostly Spoiler-free X-Men: Days of Future Past Review

X-Men: Days of Future Past is the third Marvel super-hero movie of the spring (just had to bring that up.  That's insane), and the fifth movie in the current X-Men series of movies (nope, First Class was not a reboot).  It also marks the return on Bryan Singer to the director chair, who has not directed one of these since the amazing X2.  So, with how well Captain America: The Winter Soldier was received, coupled with Singer's return, Days had a lot to live up.  And, for the most part, it did.

X-Men movies always have a chance of falling into a trap of introducing too many random characters.  This happened badly in The Last Stand and to a lesser extent in First Class.  Days does a good job of focusing on the characters we know already, so there's very little exposition going on here.  Sure, we get a handful of newbies in the future battles with the Sentinels (I was pumped to see Bishop's big screen debut), but they prove to ultimately be window dressing.  It's nice to have a super hero movie where we are immediately thrown into the fray, and get right down to business.

Without getting to much into the plot, the crux of the story involves a little butterfly effect fun where Logan's consciousness is sent into the past to change the course of history and stop the future from ever happening.  So we actually spend most of our time in the 70's, following around Logan and the First Class versions of Prof X, Magneto, Mystique, & Beast, as well as the lone major newcomer, Quicksilver.  I thoroughly enjoyed Jennifer Lawrence as Mystique - she got a much bigger role this time around (shocker), and she nailed it (shocker).  McAvoy is fine as Xavier though I have to admit he's not my favorite.  He does that stupid pained face constantly and, yes, he's constantly touching his temple.  The real shocker was Quicksilver.  I loved his character.  He's clearly comic relief, but he's a lot of fun to have around.

We also got a lot of Peter Dinklage as the defacto human "villain," Dr. Trask.  I found it refreshing that him being a little person had nothing to do with the role.  In fact, there's a solid shot you'll forget he is a little person at some point - it's never mentioned once.  As for his performance, I was slightly underwhelmed as he was rather one-note.  I can't help but compare him to Tyrion, and considering what he's going through on Game of Thrones, it's tough to look at this performance as anything but pedestrian.

I'm not going to go too much into the conclusion other than it was overall a satisfying experience.  The inevitable final battles were tense, but not dragged out in excess.  And yes, they do end up doing the expected parallel final battle a la The Matrix, with action both in the 70's and the future.  Both are well done and have some pretty amazing setpieces I won't go into, as where is the fun in that?  I would like to go a little bit into the denouement, but I feel it's a bit too spoilery.

Overall, I enjoyed the movie.  The 131 minutes moved briskly, there was plenty of solid action, and we didn't have to deal with any boring X-Men for too long.  On a personal note, the X-Men Age of Apocalypse lore is one of my favorites, so I figured it'd bias me unfairly.  Overall, it really didn't, as we spend far more time in the past then in the desolate future.  Looks like if you're going to one "summer" blockbuster this Memorial Day weekend, you'd be best to go to this one.

Grade: B+

Thursday, May 22, 2014

Favorite Baseball Movie

As I grade finals watching Major League, I want to know your favorite baseball movie.

First, what makes a good baseball movie, maybe sports movie in general? I think relatively good realism, drama, intriguing characters, and a little comedy are a must. I can't get past a sports movie where they don't look the part.

Wednesday, May 21, 2014

Metacritic Streaming List

Looks like Metacritic created a new monthly feature listing what good movies have just started streaming on Netflix, Amazon Prime, and Hulu.  Here's this month's edition.  VERY handy for making picks.  Glad to see Beasts of the Southern Wild on Amazon... I've been curious about that one.

http://www.metacritic.com/feature/best-new-streaming-titles-may-2014

Tuesday, May 20, 2014

Greatness Barometers

Taxi Driver is the most critically acclaimed movie we've picked so far.  It's universally regarded as a capital-G Great movie.  My question for you guys is how you decide what falls into that category.  Is a great movie great because you personally love it, or does critical validation inform part of that classification?

I do think about that kind of thing a lot.  For me, the number one authority on Great movies is Sight and Sound magazine's once-a-decade list.  Critics vote on a list of 250 movies, and directors vote on a list of 100.  FYI, Taxi Driver is #5 on the director's list and #31 on the critic's list.  The film snob in me plans on watching most of the stuff on that list, though I'm sure a lot of it is pretty impenetrable.

Metacritic is also a pretty solid barometer for Great movies.  The top ten rated films for any given year are surprisingly accurate IMO, compared to Rotten Tomatoes which is not the case.  Reliable film critics and their top ten lists.  A lot of sites did best of the decade lists in 2009 that I've pored through.

Award nominations have gotten better in recent years, but the actual winners rarely hold up.  AFI's lists are not reliable either, for me.

What do you guys think?  I might be a film snob, but The Bicycle Thief was pretty great.

Game of Thrones 37: Mockingbird

Monday, May 19, 2014

Godzilla (Some Spoilers)

I watched Godzilla last night and have a few thoughts.

Started in east Asia - Japan - ends in San Francisco.

Godzilla tore down the Golden Gate Bridge.  Why?  It just appears whenever an action movie involving the GGB, it gets destroyed.  Do that stuff in Oakland.  No one would be that surprised if it happened there.

Godzilla makes the "King of Monsters" the hero.  I am unsure how to feel about that.  Its set up that Godzilla returns to restore balance among monsters, dinosaurs, or whatever they are.

Best thing was the fight scenes.  They were pretty awesome but too short.  Don't know if $9 is worth it.

It's an OK movie, nothing spectacular.  Not worth the price.  Grade: C-

Friday, April 25, 2014

Thoughts on Captain America: The Winter Soldier (Spoilers Inside)

I need to state that I love comic book movies - was not particularly thrilled with Daredevil or Thor 2 though - so my bias is evident.  I am not, however, a complete comic book geek.  The only one I quasi owned was my oldest brother's DC book of Superman's death.  It was awesome and sad at the same time...

Having stated that, I enjoyed most of Marvel's movies.  The Fantastic Four films were C-s and Eric Bana is the best Hulk.  Despite that, The Winter Soldier is pretty good.  It picks up after the incident in New York that formed the Avengers.  Cap' is at S.H.I.E.L.D. doing work with Natasha Romanova - aka the Black Widow.  Before this goes any further, I want to state how awesome of an actress Scarlett Johansson is.  She nailed this role when first introduced in Iron Man 2.  She is as versatile as they come.  Fantastic.

To summarize the movie, Hydra was never truly vanquished and infiltrated SHIELD.  It got to a senior official of SHIELD Alexander Pierce.  Through a former Hydra scientist Arnim Zola, SHIELD developed an algorithm to wipe out twenty million people off the earth through three helicarriers that are linked to spy satellites.  If Rogers, Romanova, and Sam Wilson - former military guy who apparently can fly with a falcon wingpack, do not stop them, Hydra wins.  I am sure you can figure out how it ends.

Why is it called the Winter Soldier?  The Winter Soldier is a hired assassin SHIELD executive Alexander Pierce used in an attempt to kill Director Nick Fury and Captain Steve Rogers.  Turns out, Winter Soldier is Bucky Barnes, Rogers' oldest and closest friend. He too was salvaged during the war but by Hydra and it turned him into brainwashed muscle.  Consequently, Rogers immediately recognizes Barnes and refuses to take him out but Barnes does not reciprocate the feelings and actions with Rogers.

What was so interesting about this to me?  Firstly, Rogers holds on to his WW2 mentality.  After assimilating in the 21st century for a significant amount of time, his black and white perspective of the world is evident.  When he found out about the helicarriers from Fury, he stated his opinion on freedom and oppression.  Another instance was Rogers' refusal to end Barnes.  He reflected back to their friendship and clearly was uncomfortable with confronting him.  He hoped Barnes would not attack him but was mistaken.

One other interesting aspect was Rogers met Peggy.  She was the woman in the first movie who was his love interest. The audience becomes aware that Peggy was a founding member of SHIELD and that is the reason Rogers stayed with the agency.  Viewers are set to believe Rogers and Peggy got their closure and they often visit.  Audience also sees Peggy is victim to Alzheimer's disease. 

One negative aspect about the movie is its speed in developing the story.  The Winter Soldier starts slow and the plot does not really thicken until forty - five minutes in.  I could see those who may not care that much about the movie falling asleep.

There are two scenes - one in mid credits, the other after credits - after the movie ends.  That leads the audience to believe a third Captain America movie will be made.  Doesn't bother me that much.

Good acting, decent story, good action, too long.  Grade: B

Has anyone else seen it?

Sunday, April 20, 2014

Game of Thrones 33: Breaker of Chains

Lot of internet buzz about that Cersei rape, if it was even rape, though I'm pretty sure it was.  Does it fit with the Jaime of last season?  Why has Stannis completely forgot about the Wall?  Really thought the Hound and Arya were going to spend some time with that farmer, but that went a different way.

Wednesday, April 16, 2014

Most Disappointing Movies

I was going down our movie list to see some of Phil's grades. (I'm in class, I have the time, so lay off of the Shane's a loser jokes.) Anyway, what are some of the movies that have disappointed you?

The X-Men movies:
The first one was incredibly disappointing, though Jackman and McKellen were excellent as Wolverine and Magneto. But the storyline was meh. Just couldn't get in to it. I had little hopes, but when the second one was actually good, my interest was piqued again. But then the third one just horrid. Then the Wolverine movie, which had so much promise, was crap. Ugh. If they would have only followed the one in the comic books they would have been better off than fighting Ryan Reynolds on a giant concrete thing. DUMB. The New Class was OK, but I haven't watched The Wolverine yet.

Star Wars Episode I:
Holy shit. Not good.

Godzilla:
HOLY SHIT THAT WAS AWFUL

The Dictator:
I actually turned this one off.

Transformers:
It was probably hard to make this a good series, but glad to see the movie industry was up to the task.


Tuesday, April 1, 2014

Best Basketball Movies

In honor of March Madness and Medora, how about your top basketball movies?

Here is a list from PBS: http://www.pbs.org/independentlens/blog/march-madness-best-basketball-films

The only basketball movies I've seen are Hoosiers, White Men Can't Jump, and Space Jam. Hoosiers is in my top 20 of all movies. And it's been too long since I've seen the others to comment. I have Hoop Dreams in my queue as I've never heard anything bad about it - that will be my nominee on my next go around.

Friday, March 28, 2014

Hated Directors

Wes Anderson's The Grand Budapest Hotel just arrived in Bloomington today, and I'm likely going to see it within the next week.  That got me thinking about a Side Pieces topic.  Riley has repeatedly voiced his intense displeasure for Wes Anderson, or the white Tyler Perry, such that I can't really imagine ever doing an Anderson movie as a mediocre pick.  Riley would surely veto, quickly and forcefully.  I don't think I feel that negatively about any director, but there are certainly a handful I don't like.  I've never understood what's so great about John Hughes.  I haven't seen any of his 80's high school movies, but the clips I have seen look awful.  Michael Bay is garbage, but all the 'splosions still appeal to my animal brain, such that I've seen almost all his movies.  What about you guys?  Are there any directors whose style immediately ruins a movie for you?

Friday, March 7, 2014

Top Comedies

I love a good comedy, but I'm not sure there are many which are entertaining from beginning to end. I'm trying to brainstorm a top 5 list. Ones which come to mind in no particular order - Airplane, Monty Python: Holy Grail, Blazing Saddles, The Hangover, Ace Ventura: Pet Detective. The most recent decent comedy I've seen is "We're the Millers," but it's not in the realm of as funny as the one's mentioned. To me, modern comedies are unnecessarily vulgar; The Hangover was brilliant and made less funny by the elevator pictures as the end. What's did I miss? What should I see?

Semi-funny story. I went to the Emergency Room a couple years ago and Blazing Saddles was playing in the lobby. I told Chel they should just play Blazing Saddles in every waiting room. I wish they had just left me there to laugh away the issues.

Monday, March 3, 2014

Worst Best Movie

Just watched a pretty solid documentary called Best Worst Movie. It's about the cult phenomenon surrounding the movie Troll 2. I didn't even know that was a thing. It's a thing. I'm fairly certain I saw it or parts of it as a kid, but I don't know 100%. I definitely would love to catch it at a public screening. It really is like Rocky Horror, which I enjoyed in person.

What other bad movies would you want to watch in public?

Starship Troopers and Blade Trinity are definitely up there for me. Possibly Mortal Kombat as well.

Friday, February 28, 2014

2014 Academy Awards

These are the nominees for best picture:


Why is Her part of this list?  Any of you see this film?  
 
Which one of these do you think is the best?  12 Years a Slave may be the winner.  Thoughts?

Monday, February 17, 2014

An Entirely Too Long Criticism of Blackfish

An Entirely Too Long Criticism of Blackfish 
Presented by: Shane

In general, posts on Side Pieces won't be this long. However, I started this project awhile ago and didn't have anywhere else to put it. It's long. Like 3500 words long. So for those who won't read it, here's the TL;DR for you: Blackfish is not a documentary. It takes assumptions and makes them facts. It doesn't supply actual facts. It uses testimony from people presented as unbiased experts who are anything but. It also changes opinions of orcas and trainers based on convenience for a narrative.

Blackfish has been presented as a documentary wishing to expose the underbelly of SeaWorld’s treatment of killer whales. I think the makers of the movie would admit that it was one-sided, which is somewhat defensible considering SeaWorld declined to make any statements. However, the movie makers would also likely say that taking sides is irrelevant and that they presented the facts only. Full disclosure: I viewed this movie entirely with a skeptical lens. However, I am not biased against animal rights groups. I am very much for reasonable animal rights. What I am entirely against is making dishonest arguments for animal rights (or any movement). I believe that the cause of animal rights is strong enough that exaggeration, dishonesty and manipulation are not needed. Further, these tactics do nothing but drive opposition away. Also, some question or criticisms that I might pose could have simple explanations. I expect that. This is not a flaw in my analysis, but a flaw in the film for not addressing these issues.

Of course, SeaWorld’s non-comments to the film-makers should be not be construed as denial, non-denial or an inability to deny any assertions made in the film. There are definite legal matters involved and SeaWorld is protecting itself from 2 things: (1) Providing information to fuel a lawsuit (remember, anybody can be sued for anything at any time and (2) Losing the rights to private work product that is not discoverable in a court case.( Lawyer’d!) Also, I have not yet read SeaWorld’s reply to the film in order to keep a clean slate in my response.

So let’s start with who is giving us much of this information: Former SeaWorld killer whale trainers. If they were being used as merely anecdotal supplements, I’d probably not be nearly as concerned about them and their qualifications. However, they are largely portrayed as being experts throughout the movie, making a lot of persuasive and emotionally packed statements throughout the film. This is funny because in the first minutes of the film, in what seems to be an effort to discredit SeaWorld’s training process of killer whale trainers, the trainers all note how little experience they had when they started at SeaWorld. The viewer is intentionally left with the feeling that SeaWorld was playing fast and loose with proper training standards. Not once in the entire film do the filmmakers ever actually discuss what the training standards are. Regardless, insinuating that the trainers were allowed into the water with the whales too soon is largely irrelevant as injuries to new trainers are never a point of the film. This is purely a character evidence move. They’re poisoning the well and are making no attempt to actually research what SeaWorld’s training process was like.

Also, with the trainers, we are missing much of their history outside of their lack of experience before being hired. We don’t know how long they trained, whether that training was proper, or how they left SeaWorld. It is entirely relevant if a person was fired, laid-off or left voluntarily. So in the first 6 minutes of the film, we’ve introduced a bunch of former trainers who we know nothing about and will learn nothing about throughout the film. In the end, we have no idea how to judge the credibility of the trainers. The film uses the trainers as ignorant or as experts when convenient.

Dave Duffus is OSHA expert witness, but has never worked with whales. It’s never addressed that he is the prosecution’s witness and what this means. (It doesn't mean that he is unbiased, an absolute authority or that his agenda is scientific or remotely provable. Expert witnesses can range from DNA experts [highly reliable] to hair witnesses [less reliable, but worthless] to lie detector administrators [unreliable and unhelpful].)

And perhaps my favorite part of the first 15 minutes is the introduction of the news clips. Not a single clip showed anyone supporting SeaWorld or being objective. They were entirely negative in their treatment of SeaWorld. There is no context. Ignoring the fact that TV faces use salacious language to gain viewers and shouldn’t be trusted to give a trust-worthy POV, the viewer is subtly lead to believe that there no news or TV programs siding with SeaWorld. That may be the case, but that could be addressed in narration or by an anecdotal opinion of someone being interviewed.

We’re next introduced to John Crowe, who is given the professional title of a “Diver” who captures whales. While we are shown video of Mr. Crowe with other divers, he is the only one interviewed. Again, the insinuation isn’t that this man is an anecdotal witness, but an expert with something important to say. From his story we find out a couple of negative things about SeaWorld. First, Mr. Crowe seems to regret capturing whales, suggesting that it is a morally repugnant. In particular he is upset about baby whales, tugging at your heart strings. Second, we learn that SeaWorld was ejected from the area and no longer allowed to capture whales. The problem with all of this? Who was Mr. Crowe’s employer? I don’t know. It’s not mentioned. Perhaps SeaWorld was, but it would have been appropriate and helpful if that was announced. If he hasn’t worked for SeaWorld, that too should be noted. How do we know that all whale captures are performed in the same manner? We don’t. Further, we find out that SeaWorld was ejected from the area, but we don’t know why. It’s never mentioned. We don’t know if it was only SeaWorld or if other companies were ejected as well. There is nothing here but an out of context fact that is prejudicial.

Within Mr. Crowe’s story, we are also introduced Howard Garrett who is an “Orca Researcher.” I don’t know what that even means. His resume isn’t given. We have no idea what his qualifications are. A quick Google search finds that Mr. Garrett holds a degree in sociology. Of course this doesn’t mean that he can’t be a legitimate whale researcher, but it certainly isn’t a promising start. His first job after gaining his degree was with the Center for Whale Research, whose Facebook states that their goal is to research killer whales in the wild. However, a quick browsing of their FaceBook page shows that they are more than a research organization. This organization is an activist organization. There are multiple posts that are of the anti-SeaWorld nature. This is an un-biased organization. They have an objective. Mr. Garrett is involved with the Orca Network, which is also an activist group. These are all facts that should have been disclosed. I’m not certain that anything Mr. Garrett says from this point on can be considered objective and unbiased. The fake whale biologist from Futurama is more trustworthy.

Since I found Mr. Garrett to be the most full-of-shit interviewee in the entire film, let’s break-down some of the bullshit he’s trying to sell you:

He claims that Orcas knew that the whale hunters were there to capture or kidnap their babies. That’s ridiculous. Orcas don’t have the capacity to understand such a complex concept that another being would attempt to take their offspring and raise them separately. This is an attempt to humanize an animal. Orcas probably understand danger and were attempting to preserve their offspring, which makes sense. There is no reason to doctor this.

He also claims that the orcas created an elaborate plan of escape in order to confuse their pursuers. Again, orcas lack the ability of such complex thinking. I don’t doubt that the males separated themselves in an attempt to fight while the babies and females fled, but that makes sense evolutionarily. No need to doctor this up unless you are further attempting to humanize orcas.

Later in the film, Mr. Garrett repeatedly claims that whales have lifespans equivalent to humans, noting that some whales can live up to 90 years old. Whoa. Whales in captivity don’t live near that long. Double whoa. Whales have human like lifespans. To me, that means they must usually live to the age of 70-80. What does the research say? According to all hard research that I could find (including the research noted on the Orca Network Website), males orcas live on average about 30 years. Female orcas live on average about 50 years. It is indefensible to leave this information out. The film could have presented this information and in turn reasonably criticized the studies instead of conveniently ignoring it. That is how you present information objectively. This is the biggest lie in the entire film.

Around the 14 minute mark, we’re introduced to Tilikum and Sealand. Right away, we’re fed some more garbage from the Center of Whale Research, this time by Ken Balcolmb. We’re not given Mr. Balcomb’s credentials either, but a quick search shows that he does have an educational background in zoology. He introduces the term “whale psychosis” around this time. What is whale psychosis? I don’t know. They never define it. I did a search of it and, surprise, there is no definition or classification for what whale psychosis is. Nice work.

We’re introduced to Sealand and it’s insinuated that is a subpar setup that is nothing more than a net hanging in a marina. A simple demonstration of this would be some pictures or videos showing this, but I’m glad I didn’t hold my breath waiting for something like that because I would be dead from having not breathed in weeks since I watched this film. So the viewer is forced to take the word of the speakers. This isn’t a fatal flaw, but it’s annoying and setting off my exaggeration alarm. Also, eye-witness testimony is notoriously inaccurate. In particular, over time, a person’s memory is even worse and more unreliable. There are a lot of great studies on this in the legal world, which the excellent book Actual Innocence discusses.

We are introduced to Steve Huxter, a former Sealand Director. Again, we know nothing of his background. Did he quit, was he fired? I have no idea. Discussing the training methods, Mr. Huxter states that the animals were punished for Tilikum not performing correctly. Some corroboration would be nice, but I guess we can take this claim at face value and it seems pretty rational. Mr. Huxter then makes a leap by claiming that the other animals became frustrated with Tilikum for not performing and would attack him. Is this a motivation whales are even capable of? I’m not certain here. My gut says this sort of complex thinking is something that we do as people to humanize animals so we can understand why they do the things they do.

Further, Mr. Huxter discusses whales attacking whales and raking. It sounds pretty alarming and sad. This raking activity does happen, we see evidence. However, what isn’t discussed is whether or not this happens in the wild. Is this a natural whale reaction? Is this learned from captive whales? Does it happen outside of a vacuum? This film fails to give us any information on whales attacking other whales. My initial guess would be that it does happen in the wild for a variety of reasons.

I do find the concept of food deprivation deplorable. Hopefully these sorts of crude training methods are being replaced by something more humane and effective.

WHALE PSYCHOSIS! I love that this is brought up again. Just to cement a theme. Nice work.
Also, we get a pretty throwaway part from Sam Berg here. She notes that moving Tilikum to Seaworld after his awful experience at Sealand wasn’t a good idea. Captain Hindsight, ftw!

OK, so now we’ve hit the… 23 minute mark? Yikes.

Here is Mr. Garnett claiming whales have lifespans comparable to humans. Again, this is disingenuous.
So how smart are whales? The film makes a solid decision and brings in a neuroscientist in Lori Marino. Qualifications: neuroscientist. Well, that’s a bit of a let-down, but consistent with the film maker’s loathing of providing pertinent information. So, looking up Ms. Marino, you find quickly that she has some skin in the game, running the Nonhuman Rights Project. This is a new project with the goal of granting actual legal rights to nonhuman animals (this is an interesting area of law with some reasonable questions, though reading the website, I’m not sure I’m not personally buying their angle or the extent of their goals). She’s certainly not unbiased, though this doesn’t actually make her testimony flawed.

Ms. Marino makes a claim that orcas have a part of the brain that humans don’t. The viewer is then to infer that this is something special. All animals are unique and I would think that brain-systems vary among them are unique as well. This would be nice for Ms. Marino to be asked about. The biggest issue here is the assumption that the “safest” inference is that animals have highly emotional lives. Why is it the safest? Is the safest inference necessarily the best inference? Or most accurate inference? All claims need to have evidence, especially bold ones. This is not a scientific conclusion.

Next is the claim that it’s becoming clear that orcas have a sense of self, “even more so than humans.” Is there any data on this? No. Of course, this sort of thing is hard to test. Reading an interview with Ms. Marino, she explains this and then discusses whale behavior studies. We’ve left the realm of neuroscience and have entered behavioral science. This would be excellent and interesting information to have in the film. (Regardless, I have a hard time believing that any animal has a larger sense of self than humans in part due to the utter lack of whale philosophers.) Again, Ms. Marino is here as a scientist, but this is not science.

Dave Duffus is now at his worst in this film claiming that orcas have, “great spiritual power”. I wrote down that quote and immediately added a “/wanking” note. Duffus does follow up that gem by stating that they never mess with the whales or get in the water to interact with them. This is where the film conveniently switches from the earlier claims that violence against humans in orcas is unnatural and likely learned in captivity to orcas are dangerous to humans in the wild. You can’t have this both ways. The idea that whales are inherently dangerous to humans is probably the right one. They are massive and eat meat. This is logical.
Yay! Court! Discussing the excerpt of the transcript that was stricken, there seems to be a semantics argument. Unfortunately, semantics are pretty important in the legal world. The transcript stricken involved the quote “he lunges at trainers,” which means something incredibly different in the legal world from “sometimes lunges towards trainers.” Negligence cases often hinge on tiny details like this. There is nothing insidious or unreasonable about this decision.

Here we have a trainer stating that relationships aren’t more than just giving fish. This seems to go against claims that orcas are incredibly self-aware and relationship oriented. Not sure why this was added unless the film is trying to set-up something later about whale on human violence.

Now, around the 36 minute mark, we get some pretty non-specific details about a supervisor mocking orcas and whatnot. Also, former trainer Dean Gomersull says that “they” don’t tell them stuff. Whoever they is. We also get a nice fact stated that dorsalfins drooping happens in less than 1% of whales in the wild. No data or source, just a fact stated, which puts its status as a fact in question.

Next we have a subtle attempt that humanizing the orcas. The film states that different whales have different genes. Well, no shit. Then the film states that orcas have “different languages” across the world. This is a subtle humanization in confusing human language with whale language. Humans have complex languages with the ability to hold uncountable words and inflections to mean different things. Whale languages just are not near as complex and would never qualify as an actual language. It’s a simple way of communicating, it’s not an actual language any more than dogs sniffing butts is a language. That form of communicating is incredibly interesting, but allowing it to be considered an unqualified language is humanizing in a prejudicial manner.

In the 46 minute part of the film, we begin to understand a bit more about orca and trainer interaction. It’s pointed out that accidents are judged to be either trainer error or that the whales went to the wrong spot. Aggression in these incidents doesn’t seem to be an issue. That a whale slams into a trainer isn’t necessarily a mark of aggression. It is proposed that there were over 70 documented whale accidents. Good information if we had more context. What is the time period? What counts as a whale accident? Can we tell anything about the severity of an accident because it was reported?

The Ken Peters video where he is nearly drowned by a whale is emotionally and visually compelling. Mr. Peters is lauded as an expert and experienced trainer. His ordeal is considered damn near heroic and his survival impressive. Why in the world wasn’t Mr. Peters interviewed? We have a bunch of trainers speculating as to what Mr. Peters was thinking, but we don’t have Mr. Peters himself. This is incredibly disappointing.

55 minutes into the film and now we’re getting into conspiracy theories. In general, I don’t buy conspiracy theories, so perhaps my doubt is my own bias showing through here. Oftentimes, there are too many people involved to keep a conspiracy under wraps. The film-makers discuss injuries, but never bother to show any actual medical or autopsy reports outside of the attack on Dawn.

Now we are introduced to Suzanne Allee, a video supervisor at Loro Parque. Ms. Allee gives us a ton of opinions, but little substance. She seems to make a lot of speculative claims in which one would assume she lacked personal knowledge to make such judgments. She claims that the venues weren’t ready that the owner did this because he didn’t want to lose money. She claims that the animals had teeth and stomach issues due to the captivity, but I find it hard to buy into these diagnoses considering her job is as a video supervisor and she never mentions any experience in treating animals or being around the animals being treated. She also claims that the trainers didn’t train much, which again, she’s a video supervisor and does not claim to have an animal training background. Then she provides us two unsubstantiated opinions on the park. First she claims that Loro Parque doesn’t have a good reputation. That might be true, but the film makers didn’t bother to provide corroboration. “Everyone knows it was a tragedy waiting to happen.” This line does nothing but point the viewer to an anti-Seaworld path. We don’t know if that’s remotely true or not. It has no real value taken on its face.

There is a lot going on in regards to the tragic attack on Dawn Brancheau. The attack alone is incredibly sad and scary, it doesn’t need to be exaggerated. Yet, the film-makers take some artistic license. First is the assertion that the initial grab was not aggressive. There is not only any proof here, but the idea that whale grabbing a trainer with his teeth not being aggressive is a questionable one. Is the viewer to believe that Tilikum grabbed Dawn Brancheau in a random manner and then halfway through decided he wanted to kill her? I don’t know and neither do the commenters.

The film also uses the court ruling in a disingenuous manner. Many times, lawyers from both sides will come out and say that the verdict was a victory for their client. I would imagine that this is fairly confusing to the lay-man, and it should be because it’s usually just bravado or face-saving on the part of one lawyer. Because legal rulings are incredibly more complicated than most people understand, it is easy for propagandists to interpret them in a manner convenient to them. In this case, from what I heard, the court ruling was not impressive or in any way meaningful. Guilt, negligence, etc, really aren’t being judged here. There is simply nothing conclusive.

In the end, there are too many questions of credibility, authority and instances of misleading testimony for this film to be considered a documentary. At best it is a low-level op-ed piece. At worst it is an intellectually dishonest and manipulative piece of propaganda. We’re left with no information on if orcas are aggressive in nature or if it’s a learned behavior (as the film interchanges this per their convenience). Also, we don’t know if trainers are knowledgeable or unknowledgeable. We do know that every expert witness giving testimony in the movie had a prior bias or skin in the game. And really, I could have gone on further about the legal issues, but if you made it this far, you didn’t deserve to be put to sleep. I am open to questions and criticisms on any arguments that I have made here.