Lists

Great hang out at Brandon's the other night. Those burritos were excellent...wish I had one right now. The Last Days of Disco, like Damsels In Distress, is very smart, hilarious, and fun. Don't believe me? Just ask Sir Nod. Jeff and Brandon, I think you'd both really enjoy Damsels. If only we could watch Metropolitan together next week, but unfortunately it's been pulled from NWI. Ridiculous. Take it from me, gang, this Instant Watch thing just ain't worth the money.

John, thanks for the BARTMAN game. I'm not exactly sure how to play it, but that won't deter me from enjoying your gift. I'll keep it next to the Sea Captain Simpsons toy I just bought on Amazon. Seriously. "Tis no man. Tis a remorseless eatin' machine."

Speaking of things I love and enjoy, these "greatest films of all-time" lists have been fun. Here are my favorite selections from each list so far...

John's: There Will Be Blood. Like Jeff, I love this pick and before I posted my list, I was deciding between Empire Strikes Back and TWBB. ESB won out in the end, but if I were to make this list again tonight, PTA's film would probably make it. There Will Be Blood is easily the best film of the last decade and it's definitely worth recognizing on an "all-time" list. I haven't seen Stalker yet, but your pick might prompt me to watch it sooner.

Brandon's: Rio Bravo. It probably would've been Night of the Hunter. I had plans to watch it before all of these lists were made, but I haven't gotten around to it yet. Jeff has been trying to get me to watch it for weeks and claims I would love it (I imagine he's correct). When he decided to tape it off of TCM a month or so ago, I started to watch it but quickly fell victim to one of those notorious afternoon naps. Anyway, my favorite pick off of your list is Rio Bravo because it just might be my favorite Hawks film. A brilliant one that filled me the same elation a junkie gets from freebasing.

Jeff's: The Phantom of Liberty. Brilliant and funny. Thanks for telling me to watch it way back when. Blow-Up is a bold selection. It's definitely a film that I would classify as "must-see." I'm sure Brandon will agree ;) Too bad you followed the Sight & Sound rules, Boogie Nights is noticeably missing from your list. In fact, other Mark Whalberg movies are noticeably missing from your list. Where's Shooter, duder? I need to watch Diary of a Country Priest...if only there some way for me to watch it...

Ben's: The Fountain. I love that film and I'm glad you do as well. It's beautiful and underrated. For a while there, it felt as if Jeff and I were the only ones who really appreciated it. I also really like your Before Sunrise/Before Sunset pick as well. Those films contain some of the best conversations in all of film.

Adrienne's: 2001: A Space Odyssey, obviously. It'd be interesting to discuss the specifics about why we both made this one our number one pick. When I made my list, I tried to think of films that felt larger than the medium.  2001 immediately came to mind. I love all of Kubrick's films (though there are still two or three that I need to see), but 2001 is a remarkable achievement. Watching it for the first time is an experience you'll never forget.

Arthur's: The Royal Tenenbaums. There's a good chance you'll never read this, Arthur, but there are many interesting picks on your list...including the aforementioned Wes Anderson film. I love Wes and the way he writes his characters, especially father figures. Royal is a wonderful character and Gene Hackman does an exceptional job with the role. I'm kinda disappointed that there were no James Bond movies on Arthur Bond's list. Clearly I'm an idiot for writing that joke.

Tara's: Dumb and Dumber. Best comedy of the 90s and arguably the best comedy of all-time. The voices of Jim Carey and Jeff Daniels seem to pop up in my head all of time in the form of some quote from this movie. I love the fact that there are actual jokes in the film, and some brilliantly well-written ones at that. Also love the Big Fish, Charade, and Eternal Sunshine picks.

Brandon's parents': Roman Holiday and The Thin Man. Both films are instantly charming and loveable. We love films because they make us feel good and those two picks are perfect examples. Also, The Bourne Identity is the ultimate "Dad pick". If Rich Howard made a list, TBI would be in the honorable mentions at the very least.

When I posted my list, I thought about including the line, "this is not a favorite movies list." In making my list, I considered movies that a) I loved and b) deserved to be called one of the greatest films of all-time. In doing so, I ended up leaving off a lot of my favorite films. And then others were left off because I mostly tried to go with one film from each director (though there are a few exceptions). Anyway, here are some movies that would've made list had I done a Top Ten Favorites list:

Dr. Strangelove
Love and Death
The Life Aquatic with Steve Zissou, Rushmore
The Tree of Life 
Christmas In July, Unfaithfully Yours, Hail to the Conquering Hero
Rope
Monsieur Beaucaire 
Big Fish
Being John Malkovich 
The Fountain
Memento
Drive

Top Ten Greatest Films of All-Time

10. Empire Strikes Back
9. Taxi Driver
8. L'Atalante
7. Duck Soup
6. M
5. The Earrings of Madam de...
4. The Searchers
3. Vertigo
2. The Seventh Seal
1. 2001: A Space Odysessy 

HM aka proof that this was difficult (in no particular order): There Will Be Blood, Days of Heaven, Make Way For Tomorrow, Meet Me In St. Louis, Rio Bravo, White Heat, Rashomon, The Graduate, The Bridge on the River Kwai, Annie Hall, The 400 Blows, Solaris, The Godfather, No Country For Old Men, Synecdoche, New York, Grand Illusion, Zodiac, A Single Man, Stage Coach, Ninotchka, Rio Bravo, Ball of Fire, It's a Wonderful Life, Singin' in the Rain, On the Waterfront, Three Colors: Red, Citizen Kane, The Phantom of Liberty, The Gold Rush, Port of Shadows

The Dark Knight Rises

 

Driving home from the movies yesterday, my dad and I had brief conversation about Batman. He told me that when he was a kid, Batman and Superman were his two favorite heroes/comics. He especially loved Batman because of the fact that he had no super powers. Of course, if we look at the history of the Batman, we see that the character's first appearance was in Detective Comics #27. I don't say this to patronize anyone, especially since I know very little about the Batman comics (I'm sure Jason could teach me a thing or two)...but I do say this as a reminder that Batman is really just a detective in a mask.

And it's that fact that makes Batman so compelling. Alan Moore's Dr. Manhattan is a brilliant character because he's a super man who turns his back on the people, ultimately deciding that they're not worth saving. Compare that to Batman in The Dark Knight Rises, who is in no way a super man, who gives everything he has to save the people of Gothham.

There are a couple of great conversations between Bruce Wayne/Batman and Selina Kyle in Christopher Nolan's The Dark Knight Rises. At one point, she tries to convince him that he doesn't owe the people of Gotham anymore and that he's given them everything. Later in the third act, she tries to get him to skip town with her. It'd be all too easy for a guy with a Batcopter to flee a city that's being held hostage by a terrorist with a nuclear bomb. And yet, fleeing never crosses his mind...not even for a second. It's nice to have someone who's looking out for you, even if that someone isn't invincible. Bruce Wayne/Batman gives everything he has to stop Bane & Talia and it all plays out beautifully in Nolan's film.

I'm definitely with Jeff and Brandon on this one. Heath Ledger's Joker is still the better villain, but The Dark Knight Rises is definitely the better film. It's cleaner, and so much more complete (imdb lists 39 continuity errors for TDK and 8 for the TDKR, so there's that as well). It seems that the criticisms I've heard about TDKR are only stemming from: a) those who never liked Nolan to begin with, or b) those who were hoping to see The Dark Knight: Part II. I'm not sure why those people were hoping to see the same exact film. Yes, we all loved Ledger's performance, but I never saw it as the only laudable aspect of TDK.

And don't get me wrong about Tom Hardy's Bane. It was perfect casting and he gives one hell of a performance. I mean, I guess I don't really have to explain myself, considering how brilliant Heath Ledger was. But Hardy is absolutely worthy of praise. I do love the voice (though there are moments when the audio is too loud - but probably better to be safe than sorry). And Brandon's right, rather than giving us something obvious to fit the brutish nature of Bane's appearance, Hardy gives us one of the most sinister high-voices we've ever heard. And know that the Joker has some great lines in The Dark Knight, but for me, Bane is just as quotable. Part of me feels that the masks hurts the performance a bit, though. Without the mask, Hardy's face could've added to what was already a pretty damn good job. I don't know, I'm torn. Also, quickly, praise for Marion Cortillard as well. I love the reveal/the scenes with Bane and Talia.

I would say, "say what you want about Chris Nolan..." but most people do that anyway. A lot of attention is paid to him, and it seems to me that the guy is criticized more than most directors. But I guess he brings that upon himself; he's one of two/three directors working right now who consistently gives us compelling blockbusters. He's a guy in the limelight. 

In no way am I saying that he isn't without his flaws. A lot of fanboys love his movies unconditionally. When a few national film critics gave The Dark Knight Rises bad reviews, those mindless fanboys resorted to bullshit hate speech. It's disgusting really, especially since those people hadn't even seen the film yet. So I get it, these movies are popular and morons love them. But I also happen to enjoy them, and I don't care what the critics/fans have to say. Nolan always seems to entertain me, which is something that I can't say of most directors, and it's something I'll always appreciate about him.

And I love the way Nolan defines his characters in the The Dark Knight trilogy. I'm not a big Anne Hathaway fan, but she's brilliant here as Selina Kyle. It's a real credit to Hathaway and Nolan. We have a smart, tough, badass cat burglar with a bit of resentment toward the rich. And I do identify her as being the only representation in the film of the Occupy Movement. She's aware of the wealth disparity that exists today, and predicts a "storm" is on the way. But the storm that ends up coming is not exactly what she had in mind. 

Jeff brought up A Tale of Two Cities (Brandon has some nice counter-points). While Nolan makes a habit of capturing the zeitgeist in his films, I do see more French Revolution than Occupy Wall Street in TDKR. While I commend the Occupy Movement for bringing more attention to an important issue, I can't give them any props beyond that. The movement is entirely too lazy. You're right, Brandon, time to do more. That isn't to say that it's time to break out the guillotine. But what we should do, what Occupy should do is nominate and vote for candidates who represent their values and who will actually stand up to Wall Street and the big banks. If we convince ourselves that that can't be done, then there's no point in staying in this country.

Anyway, that's a completely different discussion. The point is, Bane's plan says more about the French Revolution to me than Occupy. Yes, there is a danger with Occupy that someone could emerge from that group and call for bloodshed and/or trials. Based on what Occupy has been so far, I don't think we'll have to worry about that. But then again, if Occupy doesn't move out of the parks and into the polls, something ugly could happen. The problem is real and it will be addressed one way or another.

Bane is also using an atomic bomb to manipulate the people; their actions are only a result of fear. And Batman only seems concerned with that bomb. Sure, he doesn't have the time to think about anything else, but even when the people are at their worst, Batman is only concerned with their safety. I'm also positive he recognizes the full extent of the situation. Talia and Bane claim they're finishing Ra's al Ghuls' plan, but they're also getting into Joker territory here, too; they're hoping for fear and chaos. 

I don't see it as a case of "Stop Bane and preserve the status quo," rather more of a "Stop Bane because he's got an atomic bomb...and if I have to comment, yeah this whole exile or die thing might be too extreme. I'm not at all opposed to addressing income inequality, though." Haha. I understand that a film needs a succinct message and this one might appear to present the former, but I honestly don't see it that way.

As far as the final five minutes of the film are concerned, Nolan wraps up the trilogy perfectly; I couldn't ask for a better ending. Many speculated that Joseph Gordon-Levitt's character might be Robin in the film. I do admit that I almost let out a groan when that name was uttered, mainly because I think it's unnecessary. I mean, it's really just a little nod/wink for the fans, so I can't really complain too much (and I was sort of prepared due to all of that speculation). But yeah, more important than what his legal name is, I love the fact that someone of John Blake's ilk stepped up to keep this symbol of hope and justice alive.

And with Bruce Wayne's new life in Europe with Selina Kyle, initially I was thinking that it would've been cool if Alfred had looked up, smiled....and that was it. But as I think more on that, it would've been too similar to the ending of Inception. Also it's just so refreshing to see Christian Bale sitting at that table. Like Alfred, we know what he's been through and what he's given to us, and it does pull on the heartstrings to see that he's finally starting a real life for himself. The Alfred/Bruce relationship brings a emotional weight to the story (nice work as always, Bale and Caine) and it's done well.

Breaking Bad: Magic Mike

 

Last Sunday's episode of Breaking Bad, "Madrigal" just may have completely one-upped the premier. Sure, there were no magnets (yo), but we did get plenty of Mike Ehrmantraut. Apparently Vince Gilligan is an avid reader of this blog; my request last week for Mike to remain an essential part show was granted; Walt and Jesse have a new business partner and I couldn't be happier. I'm not sure how long it will last, though, but at least we have it for now.

And I know I'm not alone in loving Mike/Johnathan Banks. I think most fans would admit that he's one of the best characters on the show - if not, the best. And a lot of that is a credit to Banks, who is absolutely perfect for the role. Vince Gilligan says as much in this EW.com interview. Listening to Aaron Paul's interview with Terri Gross on NPR's Fresh Air, it was revealed that in the early stages of the show, Jesse was supposed to be killed off. Of course that didn't end up being the case because Vince Gilligan was so impressed with Paul's performance - as well as the dynamic between Jesse and Walt. Anyway, I bring that up because I'm not sure how long Vince planned to keep Mike around initially. Based on Johnathan Banks' performances over the past couple of years, it's easy to understand why they ended up writing more and more for his character.

Jeff's new BFF Matt Zoller Seitz is dead on about last week's episode. So many great shots. So many great scenes. It's also just fascinating the way that Gilligan comes up with new deaths - referring to opening sequence with our short-lived German friend, Mr. Schuler.

I've always admired Vince Gilligan's ability to combine both severely intense moments and ridiculously humorous moments into the same 47-minute episode. It's a real gift and completely aids the show in making it feel as realistic as possible. 

I also love what Jeff wrote about Walt in his BB post. I love that Walt is still trying to justify his behavior, and is doing so in the name of family. Re-watching seasons 2-4 over the past few weeks, I've thought more and more about Walt's motives and what seems to drive him. His selfishness and his ego are unrivaled. But yes, what an uncomfortably great scene that was to end the episode. Agreed, Skyler might just be another time bomb like her husband. They've attempted a separation/divorce and that failed. Time for Skyler to attempt a full measure. 

Is it Sunday yet?

I'm not even the Buzz Aldrin of the Moonrise discussion...

I've started my Moonrise Kingdom "review" so many times. For whatever reason, I was never able to write anything beyond two paragraphs, and none of it seemed interesting to me anyway. Besides, Brandon, Jeff, and John all did a great job writing about the film. Three very tough acts to follow. Thanks, guys ;). I also pretty much agree with everything you all wrote.

But let's see how far I can get right now... 

Moonrise Kingdom isn't my favorite Wes Anderson film...not yet, anyway. It is a beautiful film, however, and just might be Wes' best work to date. From the moment I saw the first trailer, I was completely hooked. I really enjoy the "us against world" love stories. I think the reason behind that is because I've always felt that if all I had in the world was one person whom I loved unconditionally (and whom loved me equally), I would have everything I need.

But luckily for Sam and Suzy, they have more than just each other. That something more might not always be enough (as Bill Murray's character succinctly states), but it certainly isn't worthless. I'm referring to the sense of community that's promoted in Moonrise that Jeff praised in his posts. Sam and Suzy, despite being a pair of young, misfit rebels, receive plenty of helping hands along the way by Captain Sharp, Scout Master Ward, Cousin Ben, and the Khaki Scout Troop. This charming sense of community demonstrates that even though it feels like an "us against the world" romance, the world will be there to support you if your love is true.

Centering this story around kids on a remote island was a brilliant move on the part of Anderson and Roman Coppola. Often the romantic feelings of young people are dismissed by their elders. In truth, many of us grow older without learning anything about love; life experiences and relationship histories do not automatically make us experts on anything. In the end, there is no formula in finding love. Moonrise Kingdom does a fantastic job of reminding us all of that and more.

Anderson carefully balances the innocence and the maturity in Sam and Suzy's relationship. The more sexual scenes between the two characters do not scandalize or hurt the film in any way as a result. I do admit, I felt slightly uncomfortable when I saw those scenes play out in the theater. It was as if Wes was now asking too much of his young actors. But obviously as I type this, I've come to accept the idea that because the innocence between these two characters is so beautifully established early on in the film, it eases the audience into those slightly stronger, sexual scenes. Not to mention the fact that whether we like it or not, the reality is that many young people are sexual.

Anyway, moving to less of a hot-button issue, I thought the cast was excellent. Every actor was perfect for his and her role. I would've liked to have seen more Bill Murray, but what can you do? It's nice to see Edward Norton in a good film again. He's like a old friend from your childhood who you get to see only every now and then. I love that he's playing a soft-spoken scout master here; another (increasingly less frequent) reminder of what a talented actor he is. Also, Jason Schwartzman and Wes Anderson do it again. From the moment we meet Cousin Ben, I felt the film really picked up. I definitely enjoyed myself the most during his scenes. Great stuff.

I don't really have much to end this post on. I'm just happy that I've finally expressed some love and admiration for it; it's an excellent film. I don't expect anyone to respond to this post (due to my tardiness...all right, "tardiness" is an understatement). I do want to move on to Brave and The Artist. Adrienne's post on Brave really got me excited about the movie again and I'd like to discuss it, even briefly.

I really agree with Jeff on The Artist, so I'm not sure that I'll have much to add there. Then, of course, I can't wait for the Dark Knight Rises discussion. Again, I really need to watch the entire film before I post on it. I've seen everything except for about twenty minutes of the beginning of the third act (so I do know how the film ends). I think I've now spent enough time in the Regal bathroom to last a lifetime.

Breaking Bad: Season 5

 SPOILERS THROUGHOUT

I wish I had found the time to marathon seasons 1-4 of Breaking Bad before the season 5 premier last Sunday. But I was able to re-watch most of 2 and the first half of 3. While I'll probably finish the second half of season 3 and all of season 4 in next few weeks, I reminded myself this morning that I'll have plenty of time to marathon the entire series when season 5 is on a 9-month break. That's gonna be a painful...

Season 5 is off to a great start, and when I think about where we'll be a year from now, I can't foresee being disappointed at all. Vince Gilligan has set this show up for success. For five years now it's been building and building and I imagine we'll be treated to one hell of a showdown at the end. But just who is that machine gun for? You would think that it's meant for a group of people - my first thought was the DEA. Maybe Hank finally discovers who Walt really is. Maybe Jesse discovers more of who Walt really is and tips off Hank. Or maybe the gun is meant for other Cartel members.

As you wrote, John, the magnet heist was f'ing awesome (there's no chance of not sounding like Chris Farley here). One of the great things about the show is that it contains many elements from different shows/movies/genres - a show with many hats. But back to the magnet sequence - the problem was interesting/original and the solution was cool and brilliant. Well done, Gilligan.

I do hope Mike sticks around, but now that the laptop is destroyed, I'm not sure that he would want to. He's become my favorite character on the show, though, so I'd be sad to see him go.

I actually didn't mind Skyler in that last episode. No doubt Anna Gunn is a good actress, but I've never liked the way her character is written. I guess all it took was for Walt to go off the deep end for me to garner some sympathy for her.

I had briefly forgotten what happened Ted at the end of season 4. The previously on Breaking Bad helped some, but yeah, there's a moment in which I really needed to re-watch the show. Not sure if I feel bad for Ted at all. He's kind of a douche.

Walt needs to die. Not now, of course, but at the end of the series. It's been one hell of a transformation and it's interesting to see how quickly things snowballed and got out of hand, but yeah, the person Walt has become cannot go on living. I wonder who will be the one to take him out or will his cancer finally get him?

Juuuunnnneee

Features

La Dolce Vita ****
Indiscreet ***1/2
Le Samourai ***
Prometheus ***
Angel Face *****
Freaks ****
My Man Godfrey****
Masculin Feminin ****
John Carter ***1/2
Moonrise Kingdom ****1/2
A Star Is Born (the first hour, will watch the rest later) N/A
You Can't Take It With You *****

Re-watched

Bringing Up Baby ***** 

Television

Game of Thrones season 2
Mad Men season 5
The Daily Show
The Colbert Report
Real Time with Bill Maher
The Ricky Gervais Show season 3
Seinfeld season 3
Downton Abbey season 2

Notes: Sorry for the lack of posts lately. The fact that I sit in front of a computer all day at work doesn't always grant me the ability to post consistently. That might sound like a shit excuse to some, but it's the only one I've got. Anyway, I hope to have something up on Moonrise Kingdom tomorrow or Sunday (and hopefully Jeff and I will see Brave soon). So far I've really enjoyed reading the Moonrise thoughts of Brandon, Jeff, and John; hopefully I'm not too late in joining in.

On my shortlist of favorite directors, Fellini would not crack it. I just prefer different directors. Even though I'm not a huge fan, I still respect him and acknowledge that he was a brilliant director/storyteller. I also admit that his films can be, at times, a lot smarter than I am. So this is me not calling something pretentious, but saying that La Dolce Vita is something bigger and better than I will ever be. I will say that the more I read about La Dolce Vita and Fellini, the more I like.

Indiscreet is a decent Stanley Donen romantic comedy. There are some nice twists and turns as the script unfolds. Cary Grant and Ingrid Bergman are loveable, as usual. It's interesting to see them paired up during the latter stages of their careers - Notorious and Indiscreet would be a nice double feature.

I was actually disappointed by Le Samourai. I really enjoyed Le Cercle Rouge, but for whatever reason Le Samourai didn't do as much for me. I love Alain Delon and his badass persona, but there just wasn't much else for me to take enjoyment from. Oh well...we'll meet again, Melville.

Angel Face is a hell of a lot of fun; I'm glad Jeff told me to move it to the top of my Netflix queue a few weeks ago. Jean Simmons is sort of like a nefarious version of Audrey Hepburn - great performance. Hopefully John was able to watch this one in full. It'd be nice to have a conversation about. I wish we all could watch and discuss it.

Freaks surprised me...in a good way. I was actually surprised at how respectful the film was - not that I expected it to be brutally offensive or anything. But I knew of how the film ended and there was a part of me that was concerned that the stars of the film would be exploited for the purposes of frightening the audience. But the only thing truly frightening about this film is Olga Baclanova's character, Venus.

My Man Godfrey was enjoyable and worthy of all of those stars I gave it above, but I have to admit...I don't like it as much as Jeff does. Carol Lombard kinda annoyed me in this one :( In no way am I writing her off as an actress...I'm just saying I wasn't a big fan of her character. Maybe I'd change my mind if I saw it again (and I will see it again). I do like the message of the film.

There's quite a bit to love about Masculin Feminin. I'm not too big on Godard either, but this might be my favorite of the films I've seen so far by him. I just love those moments when Jean-Pierre Leaud is interviewing the girls. It leads to some very interesting conversations and ideas on love and life. And I don't know what it is, but there's something about Leaud that kinda makes me want to punch him in the nose. haha. 

John Carter probably deserves its own post but I might be too late to resurrect any sort of discussion. Maybe I'll have something more on it in the near future. I think it'll probably be on Brandon and John's top ten lists for the year (or both of you guys) so maybe we can talk more about it then. I liked it (3 and a half stars) but I'm not sure that it did enough for me. It was one of those mostly enjoyable experiences that ended with a "meh" reaction.

Moonrise Kingdom thoughts coming soon.

Again, I've only seen the first hour of A Star Is Born. It's on a DVR so I'll finish it at some point. More drunk James Mason please.

I really love You Can't Take It With You and the moment I fell in love is when Jimmy Stewart brings his snooty parents over to Jean Arthur's house for dinner 24 hours early. From that moment on, I don't think I ever stopped smiling. Again, I'm drawn to the theme/message. I must really hate rich people. Yeah, I kinda do.

The first time I watched Bringing Up Baby, I wasn't as impressed as I thought I would be...mainly because I thought it would be funnier/have better one-liners. Second time around I really enjoyed it. But throughout the film I kept thinking, "Oh, this must be why John doesn't really care for Katherine Hepburn." Not does she get under Cary Grant's skin, she got a little under mine at times. But because Grant plays such a square, we know he deserves he. Great performances from both actors.

Breaking Bad is almost here. I watched a couple of episodes from season 2 today. I really wish I had the time to marathon seasons 1-4.

Old Thoughts: Now Newly Phrased!!

90% of horror films are crap. There's a definite link to Sturgeon's Law here; I would say the same of other genres. 90% of action movies are crap...hell, 95%. Comedies, dramas, indies? Uh huh. A lot of this has to do with the influx of movies each year. Quantity will almost always lead to a deterioration in quality. And I am speaking more of contemporary films (the past thirty years or so). I really like what Brandon wrote in his last post on this subject (the Pissed Jeans paragraph). Does anyone else agree?

It's not as if horror is my whipping boy; it is a genre known for cheap thrills, but action movies are guilty of the same. But the "killings" aspect of horror is interesting, though, because certain people come to expect that there will plenty of bloodshed in a given movie, and often become disappointed when there isn't enough of it. Sure it can desensitize those people, but more than that, it drives them to become cheerleaders for brutality and murder in that moment.

Disclaimer: all horror fans are not cheerleaders for murder. And because these movies are fictional...I can't say that I care too much. Last time I checked, horror films aren't a gateway drug to serial homicide.

Anytime I note the over-reliance on sex and violence in horror, Jason and Brandon redirect my attention to slasher films, and rightfully so. I also want to include torture porn in that as well. We all know I hate torture porn with a passion, but with slashers, I only hate the newer ones. I can give props to the original slashers of the 70s and 80s; I bet I wouldn't find faults in Halloween. And even though it's possibly a cheap shout-out at this moment in time, I do want to remind everyone that I really like Club Dread ;)

So we've covered slashers. That leaves us with...

Haunted house movies: I don't have a problem with them...other than the fact that they make me shit myself. I love The Shining and The Others, and I imagine I would find some things to enjoy about The Innkeepers if I watched it.

Zombies, vampires, monsters, and alien invasions: it really depends. It seems like most people are either big into zombies or vampires...which is why True Blood and The Walking Dead get great ratings despite their mediocrity. Maybe that's a source of slight annoyance for me as well. You throw a zombie or a vampire into anything and it will sell...unless it's Tim Burton's Dark Shadows.

Vampire/zombie films that I really enjoy: Let the Right One In and Shaun of the Dead.

If 90% of all horror movies suck, 10% are great and worthy of praise. Because I mean this proportionally, this assessment seems more than fair to me. It's not as if I think that are only ten good horror films out there (I mean, come on, I've only seen six anyway). I respect the genre, even if it isn't my thing.

But "my thing" be damned, sometimes someone makes a great film that transcends its genre. The problem with horror is that too often people who make horror films get lazy. We talk about critics/bloggers being lazy, but goddamn, how many times are we going to see the same characters, plot points, and scares? It's for this reason that I enjoyed what Joss Whedon and Drew Goddard did with Cabin in the Woods. It came at the right time and was mostly well-done.

And sure, fans come to expect certain things, which is why they don't grow tired of seeing the same thing over and over...but I'm not really one of those kinds of people. That does not make me smarter or better than anyone else (and certainly not braver). Allusions I can understand and appreciate. I am aware of the community aspect of horror and sci-fi and can respect it.

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

Also, if we're discussing the idea that calling something "shit" is being too dismissive...might I also point out that calling something "pretentious" is just as lazy/dismissive.

Brandon writes: "I can’t speak about PROJECT X honestly because I haven’t seen it but I was appalled by the marketing campaign. That director (the douche who made the stupid HANGOVER films) has marketed films that nurture adult’s prolonged adolescence. He promotes every type of stupidity imaginable and has made heroes out of misogynists, homophobes, and GASP! preppies. He’s the devil as far as I’m concerned and PROJECT X seems like his latest “let’s do molly and get girls to strip for us” mantra. Sorry if this is fiery but I have been extremely fed up with the youth of today lately. I love the idea of having a good time, even if that means sex, drugs, law breaking, and boozing is involved. But this “all I do is party” scene is running rampant, we have JERSEY SHORE morons running amuck calling dude’s like Jeff and I faggots while driving down the streets (actual incidents… yes plural). I’m sure you’ll have a lengthy response to this so I’ll take my answer off the air. Haha."

If anyone ever asks me why I like Brandon, I'll direct him/her to this paragraph. I couldn't sum it up any better myself.

I think a good test for you, Jason, is to see Ted. If you like it, I'm afraid we're really gonna have to challenge your glasses theory. None of us are getting paid to blog, so it's understandable/acceptable that we'll write some lazy criticisms every now and then. But guys like Seth McFarlane are getting paid millions of dollars to come up with the most mind-numbing shit. A movie about a teddy bear who curses, drinks, smokes, and hangs with hookers must die a horrible death. It's way too easy, and the Jersey Shore morons Brandon referenced will eat it up by the barrelful.

Sorry, I just can't pat anyone who makes a film on the back. I don't want to be the guy who hates on movies - I love them and I love going to the theater to watch them. But filmmaking isn't for everyone and hundreds of movies are absolutely worthy of wrath and indignation. I think it's fair to draw the line at personal attacks. Just because I hate Seth McFarlane's writing doesn't mean that I hate him or want him out of the business. I just wish he would challenge himself and his audience more.

Anyway, feel free to ignore my 90% comment, Jason. After all, you can come up with statistics to prove anything; 14% of all people know that.

Prometheus

I've never seen Alien or Aliens. End review.

Luckily, I didn't have to, as Damon Lindelof assures me that Prometheus is not a prequel. But by not seeing any of those installments in the Alien franchise, I didn't walk into the theater with the same kind of expectations that Jeff or Adrienne might have had. But I do know that Jeff's expectations were pretty low going in. I also happen to know of an alternate ending that would've pleased him. In a way, he's correct in saying that there isn't much to gain from this film. Yes, really the only revelation is that humans were engineered by a race of albino supermen.

I can be critical of Lindelof as well; after the whole Lost experience, it's clear he's only interested in asking the big questions, not answering them. Even if that outcome is realistic, it still gets old fairly quickly. I would've like to have gotten more from Prometheus, too, but I never expected to get as much from it as, say, a Charlie Kaufman project. But that's probably because I feel that emotions/relationships are the bigger driving force in our lives, not a God or a Creator.

What I did take away from Prometheus was sufficient enough. I think most of our interests are piqued by medium-to-big-budget sci-fi films. My Twilight Zone roots have established a need for stories about space exploration and finding the answers to life's biggest mysteries. It's one of the main reasons why I was able to connect with Noomi Rapace's character very early on in the film. Taking a moment to commend actors for a second, I really loved what Rapace brought to the film. She was fantastic and I'm happy to see that in a short amount of time, she's gone from playing Lisbeth Salander in the Swedish version of The Girl with the Dragon Tattoo trilogy to leading lady in an American blockbuster.

Equally fantastic is, of course, Michael Fassbender. With a Peter O'Toole/T.E. Lawrence inspired performance, Fassbender's David steals most of the scenes that he's in. Adrienne acknowledged the scene at the pool table with David and Charlie as being the best in the film. It's definitely up there for me, despite Logan Marshall-Green's forced antagonism. But through that antagonism, Charlie and David end up having a powerful and interesting discussion.

As John can attest, I don't believe in God. But when I was younger, I felt differently, having been raised in a Methodist home. I remember a time in my life when I asked the big questions and only wanted answers from God. I have a pretty good feeling I wasn't alone in doing so. For that reason, it's easy to understand the drive in Dr. Elizabeth Shaw. The mission must go on...and on and on.

Slight annoyances in Prometheus are due to the archetypes, but they're not significant enough to hurt the film. It is a little refreshing when Idris Elba (who is also great in this film...and, fyi, an Arsenal fan) calls out Meredith Vickers for being stiff and robotic. Over the years, we've seen millions and millions of tightass characters who are only concerned with the task at hand. And yet, Elba challenges her and breathes some life in a predominantly stale character.

Another Jeff qualm was that Prometheus wasn't scary enough. He'll get no argument here, but obviously we differ on whether that's good or bad. Despite never being christened into the Alien franchise, I'm familiar with the John Hurt stomach scene. I get the sense that if I saw those two flicks, even at the age of 25, they'd make me feel uneasy. Brandon, Adrienne, and Glenn Kenny all do a great job of describing the unsettling ambiance that those films created for them back in the day.

I never thought of Prometheus as a horror film, and I don't necessarily think that anyone should. I mean, I understand the preconceived notions, given Ridley Scott's role and whole "prequel" thing. But this is really thriller territory, and as a thriller, the film works well. The C-section scene was pretty damn disgusting, but it got its moment in the spotlight because it was so engrossing.

The movie has plenty of squeamish moments and still plays with certain fears - like being attacked by unknown creatures, being penetrated orally (as Brandon talked about), and/or finding out that your creator is some asshole who'll rip your head off. This is all to say that I don't necessarily see the film as something tame either.

While I was at work yesterday, Stephen Stills' "Love the One You're With" came on the radio. I think it was a message letting me know that a bunch of aliens want me to come and find them. In the end, the song has a good point about Prometheus, John, Jeff, Adrienne. If you can't be with the films you love, love the ones you're with. Disclaimer: obviously I don't apply that rule to all films; many of them deserve the most vitriolic hate. But Prometheus held my attention, (in spite of those cozy seats), didn't waste a lot of time, and was a fun little experience.

Make Way For Tomorrow

Before I went into work yesterday morning, my Dad and I helped move a sofa chair from an upstairs bedroom in my grandparent's house to their living room. After a couple minutes of heavy lifting, we set the chair down in its new spot and I gave it a look over. There was something very familiar about the chair, like an old friend from the past. It turns out, the chair had rested in their living room before...when it was my great grandmother's chair. In that moment I was reminded of the days when my Great Grandma Snow stayed there and was taken care of by my grandparents (her daughter and son-in-law).

Obviously this little story allowed me to reflect on Leo McCarey's Make Way Tomorrow and to consider the message behind it.

The film is a real gem and it comes as no surprise that we (Brandon, John, Jeff, and myself) all see eye-to-eye on it. Because I haven't seen enough films from 1937, I can't say too much about any of your Golden Age lists, but I have seen both Grand Illusion and Make Way For Tomorrow now. These are two exceptional films and it'd be difficult for me to choose between them.

Films with messages as perspicuous as the one in Make Way For Tomorrow can easily come off as being too preachy; there's a thin line to walk. But at no point during McCarey's film do you feel like you're being preached to. The writing and the performances are pure in heart, and as John wrote, Bark and Lucy Cooper comprise of one of the greatest on-screen romances of all time.

In fact, Victor Moore and Beulah Bondi play their roles so well, it's easy to feel cheated when they aren't sharing a scene together. Of course, the writing and performances are great all-around, so this isn't necessarily the case.

But there's a definite magic to Moore and Bondi. I was glued to the screen when Bark and Lucy spent the last ten minutes of the film together in New York City. There are so many great moments to choose from and each one allows you to experience a wide range of emotions. There's so much going on during those scenes; I can't rave enough about them.

Of course, the conclusion really brings you down. Very touching, very heartbreaking stuff. Brandon talked about it being disturbing for his parents, and I kinda have to agree to extent, despite my youth. Knowing that the film was minutes away from ending, I was unsure of how it would all go down. I think ultimately the ending is realistic, and there is joy and happiness to be found - knowing that Bark and Lucy had a perfect day together.

The moment with the car salesman lets you know that this is a special film with a lot of heart. Car salesmen epitomize sleaze and greed. And yet, this particular car salesman couldn't help but be swept up in the love shared by Bark and Lucy. I don't think anyone can blame him there.