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Pokémon and Winter Break

17 Dec

This is how I feel once I get on Winter Break.  Excusing the sizable amount of work I have to do.



Wolverine & Psy = BFFs

17 Oct

Because someone loves you out there.

Pixies – Hey

8 Oct

It’s funny and sad that the video people in 1988 had no idea what the fuck was happening in the song so they wouldn’t cut to the right person.

I think I’m just going to update with the music I’ve been listening to lately…

For now, get back in the swing of things, hollllllllahhhdayz.

Price is Right for Breaking Bad

13 Aug

Jesse’s totally going to die, sorry guys.

The Dark Knight Rises – Review!

21 Jul

The Dark Knight Rises is one of those movies in which I’m initially stumped with how to review it.  At times, I enjoyed it, and, at others, it was a confusing mess.  It was a like/dislike relationship.  I wouldn’t go so far as say it was a love/hate relationship because, in actuality, there was nothing to love and nothing to hate.

I saw this film in IMAX because that’s what everyone online said I should see it in.  Unfortunately, the only true IMAX theater in the Pacific Northwest is in Seattle… which I’m 5 and a half hours away from.  I noticed that the audio was slightly better, but the picture quality was minutely clearer.  This upgrade was not enough to justify the price, and I do not see the big deal with IMAX.  Sure, I’ll get around to true IMAX, but it’s not for me currently.

I’m not sure whether or not it was the IMAX or the finished film, but the score was distracting my viewing experience.  Hans Zimmer is talented in making scores for films, I’m not trying to take away from that.  However, I am not a fan of constant scores.  The mixing was too loud for the score particularly when the movie has a lot of mumbling, accents, and weird Bane voices.  I was occasionally lost with all of the noises going on.

The film contains many plot holes as well as too many coincidences.  It builds and builds and builds but only because one thing leads directly to another rather than having multiple issues pan out.  Despite trying to make multiple storylines with almost an absurd amount of characters, the vision remains fairly singular.  Along this path, the film was entirely predictable aside from the few spoilers at the end.  The screenplay relied upon so many classic tropes that there was not much of a new interpretation on anything, just a rehashing of old material into a superhero film.  A lot of the fun was lost when you knew what was about to happen with almost everything.  I’m not sure if that’s because I’m an avid movie viewer, study film, or comic book geek – there just were no surprises.

The technical film making aspect was fairly solid.  There were occasional shots that made me wince, but I was satisfied with most of the presentation.  It’s a good movie when focusing on most of the cinematography.

The action scenes cover up many of the problems with the film with some inspired dirty, hands on fighting.  Not only is Bane fiercely intelligent, he can match Batman in a first fight which makes the fighting imaginative and brutal.  That’s the great thing about Bane in this form, he’s methodical and may be one of the few multi-layered characters in the film.  Christopher Nolan nails the character with an interpretation similar to the introduction of the character in the comics.  Many people have since decided that Bane is purely a brute, but, in actuality, he’s one of the more intelligent comic book villains out there.

The acting was fairly consistent in a film that had many loopholes.  The stand out character in the entire film is Joseph Gordon-Levitt’s Officer Blake.  He’s the emotional center, and we see Gotham through his bright, hopeful eyes.  That’s what makes the film so satisfying at the end.  He sticks to his beliefs in right and wrong, and pursues justice and even understanding.  I ended up caring more about Blake over any other character.

Overall, I came out of the film with an okay feeling.  It’s worth seeing in theaters for the experience, but I’m not sure if it demands many repeated viewings.

Photo Challenge – Something Sweet

19 Jul

There are four things sweet in this image:

  1. My popsicle
  2. Me
  3. Kevin Keller
  4. AND my Batman button

This gives a decent idea of what I did today (despite that 3 hour chunk playing Pokémon…).  I focused on Me (WHICH I ALWAYS DO).  I worked on my Kevin Keller piece for about 2 hours earlier and I’m taking a break from working on it right now.

Also, I got a free Batman button at the comic shop… SO I WILL LOOK HELLA COOL when I wait in line for 50 hours to see The Dark Knight Rises tomorrow.  C’mon people!  Let’s break some records!

Hidden story behind this image: this is one of about a dozen photographs (that, to the normal eye, look identical) in which I perfected myself.  First, I had to make sure the popsicle looked a similar color as the cover to Kevin Keller.  Then, I had to get the popsicle, my face, the comic, and the Batman button all in the same frame.  Also, I kept on switching between two facial expressions without realizing it.  I was either deadly serious or raising my eyebrows.  In this photo I just look mildly amused.

Or incredibly subdued in my badassery.


PHOTO. CHALLENGE.  It’s worth your time (and virtual, meaningless money).  So, check it out!

Moonrise Kingdom – Review!

8 Jul

I’ve been mulling around about how I was going to do this review.  In the end, I decided to just go for it because, well, you’ll see…

Moonrise Kingdom is a Wes Anderson film.

For most people coming to this movie, that is what they’re coming for.  For others who have heard about it from someone, they may think that this film is quirky and cute and fun.

But that’s what every Wes Anderson film is.

His voice is unique and he presents quality films relentlessly.  In a film industry that rehashes the same sequels, prequels, reboots, and jacking of other literary endeavors, Wes Anderson is needed in this industry.  But that doesn’t necessarily mean that his voice is amazing.  It’s just a unique freshness that is necessary.  He provides hope for the industry without actually delivering the how.  Indeed, he has basically crafted for himself the “Wes Anderson” genre of film where occasional filmmakers do poor (and, rarely, even better) interpretations of the genre.

What makes the Wes Anderson genre different?  Well, Anderson starts it off with having really inventive dialogue, inventive shots, inventive ideas, but all of those things come off as almost too perfect.

His dialogue never hesitates with certainty, there are no moments that seem to be unscripted rather than what I presume says “dancing” within the script.  He centers his shots, and, when he doesn’t, he finds the perfect, photographic shot with just enough balance shifted to a different side of the frame.  He comes up with a grand story of love between young kids discovering their feelings and bodies, but they meet through nearly impossible means (Cub Scout-esque Khaki meeting the sad but sweet mod girl) explained by the story set on an island (in the 60s which basically looks some other Wes Anderson films with just “the 60s” tag added at the end).  His pacing starts slow and quickens exploding into complete chaos where everyone has complete composure during impossible moments.

This film basically feels like Wes Anderson doing a Wes Anderson interpretation of the “Wes Anderson” genre.  He repeats the same style and perfection (and characters) as he has with every film which is unfortunate because this could have been an amazing film.  Instead, after watching his other films, most of what is within this film is predictable.

It’s all there: A-List actors, fantastic finds with young, burgeoning actors, great scenery, and heartwarming young love.

Every actor gives a great performance with what they’re given, and the leads Jared Gilman (Sam) and Kara Hayward (Suzy) capture you’re heart quick.

By all rights, this is a great movie.  But then, you get that whole Wes Anderson thing going.  His style overwhelms the story and overpowers all of those performances and ideas by making this movie more about art than story.  If he was able to find a balance for this conundrum, then this film would have excelled way past all of his previous films and the “Wes Anderson” genre.

But he doesn’t.  That’s what hurts this film.

If you do not know much about Wes Anderson, check it out and you’ll probably like it.  If you love Wes Anderson (like I used to) you’ll probably love it.  But, I’m world weary about this film, and it just doesn’t do anything for me.