I Watch Things Too: 2013 Leftovers

Gravity- Admission time. I enjoy Gravity. It’s practically 90 minutes straight of intense spacey action. The cinematography is stunning, and so is the soundtrack. However, many praised its character development but I’m inclined to disagree. Religion is a major underlying theme. Much of the imagery and semi-subtle symbolism- is of a religious foundation. I’m not exactly a man of faith, but I’m also not opposed to it influencing my entertainment. Journey is one of my favorite games after all. But with Gravity, it takes more of a Book of Eli approach. When “God” plays a role in the direction of the plot, the ending is a forgone conclusion.

Barring the religious tones, Gravity is such a blast because of unconventionalism. The cast is tiny and lead by George Clooney and Sandra Bullock. Despite her sometimes hammy acting, the character of Ryan Stone, an inexperienced medical engineer in space, makes the frantic action even more enjoyable. Flying around with shrapnel whizzing by while attempting to chaotically fling from one station to another is sure to throw a few pacemakers out of whack.

As I previously mentioned, director Alfonso Cuaron’s trademark cinematography is hard at work with some great special effects culminating in one of the best looking films of 2013. Much of symbolism, such as Bullock swinging around, struggling to get unattached from an umbilical cord-like structure, works because of how each scene is shot.

Gravity is a film which attempts to succeed on both a shallow and cerebral level.  If not for some cheesiness hampering the more poignant scenes, it would have been on my top 5 films of 2013 list.

Prisoners- Crime dramas often live and die on their twists. Prisoners nears life support because of its. Don’t get me wrong, it’s not a bad movie. There’s a solid chunk of quality to speak of but its almost completely undermined by a predictable narrative.

While not a stooge, err...I mean parent, I can imagine a missing child is a situation words can appropriately describe. Prisoners poses the question of “how far far is too far?” Hugh Jackman’s character is the centerpiece of that very such thing as he brutally tortures a suspect the police had to let go. Within these moments Prisoners is at its best. Jackman executes the frustration, anger, and fear of Keller Dover better than you’d expect. While I wasn’t made uncomfortable per se, the weight of each scene is tangible. If not for the moody cinematography and solid performances, this likely would have fallen flat though.

And that’s about all the praise I can muster. Within the first 20 minutes I had two of the three key portions of the twist figured out. Stringing clues along is a fine tool, but when there are only clues which make more and more sense as the film progresses, the payoff is nonexistent. The kicker is the final scene which works to undermine the overarching message with an unnecessary last-second self-indulgent reference.

I enjoy crime-dramas, despite how inundated western entertainment is with them. Prisoners forgets the key to any good work of the genre though and implodes before much satisfaction can be gained.

Monsters- Don’t let the bland name fool you, Monsters is a kaiju film of considerable caliber. It’s not so much about unstoppable creatures eradicating humanity, as it is about humanity learning to adapt. The best way to describe it, is imagining and artsy Jaws. The creatures are limited. They’ve been confined to the the area pictured above, and they aren’t fully revealed until the very end. They become a mixture of a backdrop and the conflict. It’s odd thing to conceive, but it works out wonderfully.

Conversely, there is an unhealthy focus on the love story between the two leads. All too often takes up valuable time which could be spent on the rather unique setting. It’s not film ruining, but it’s not entirely worthwhile either.

The big takeaway from Monsters is that director Gareth Edwards is probably one of the better choices as director for the upcoming Godzilla, which looks incredible.

The Iceman- Anti-heroes, especially of the murderous variety, can be a tough sell. They often become either too humanized, Dexter, or incredibly uninteresting. In Iceman’s case, it’s the latter of the two. Based on the real killer, Richard Kuklinski, who claimed to have murdered over 100 people for both pleasure and mob related work, you know where this one is going from the get-go. So it’s one of those journey rather than destination stories.

Thanks to the mundane level of suspense, the intentions of a compelling character analysis never come to fruition. Michael Shannon plays his familiar stoic creeper role and does a fine job of it. The cast in general is rather surprising. There’s James Franco for a couple seconds, which I’m sure costed more than it was worth. Then there’s Chris Evans who’s out of depth as killer Robert Proge. Yes, Captain America plays a serial killer and isn’t terrible at it, but everytime he’s on screen there’s an overwhelming dissonance.

The Iceman is the type of movie you watch and then an hour later it escapes the jail of your long term memory. If you’re interested in the learning about Kuklinski, you’d likely get more of a thrill reading the Wikipedia article.

Steins;Gate: Fuka Ryoiki no Deja vu- As a devout fan of the anime, it should come as no surprise I enjoy Fuka Ryoiki no Deja vu. The truth is, Fuka Ryo...fuck that name is long, isn’t necessary. It’s an excuse to make more Steins;Gate. Call me crazy, but I’m 100% okay with that. While the series finishes strong, I missed hearing Tu tu ru, Okabe and Kurisu’s bickering, and all other manner of goofiness which makes the characters so lovable. Fuka Ryojdsaf djfsdj scratches that itch.

Taking place after the events of the anime, Kurisu and Okabe experience some role reversal. This twist creates for a satisfying dynamic between the two, if entirely predictable in its execution. Chances are you can predict the ending, which is sort of bummer, but Fuckaj Ryo Something or Other’s focus is strictly on the journey. While not as impactful as the anime, there’s still plenty of moments which will kick you straight in the feels.

Funnel Cakes’ biggest issue is the length. The central concept would be more fitting of the pacing adorned to several episodes rather than an 90 minute film. There’s a lot of interesting ideas, such as Okabe’s memories between worlds blending, but not a one is examined to its fullest potential.

The key to enjoyment is expectation management. This isn’t nearly as profound as the anime, but for fans looking to satisfy their Steins;Gate fix until the western release of the visual novel, Fuka Ryoiki no Deja vu is worth a look.

My 5 Favorite Movies of 2013

5.Captain Phillips- At first glance one might assume Captain Phillips to be incredibly racist. After all, it’s a film about working class Americans- mostly white- being attacked by underprivileged Somalis. In truth, it weaves a far more sympathetic story towards them than you might expect. Seeing that the four man pirate crew gets more screen time than anyone, other than Captain Phillips, a good portion of the film is spent trying to understand their motives. They didn’t take to the high seas after seeing Johnny Depp prance about in Pirates of the Caribbean. And it’s not even about money for money’s sake.

On the acting front, it’s stellar performances all around. Tom Hanks is unsurprisingly good at lead, but the real star is Barkhad Abdi- the pirate leader- Muse. Despite the lack of any prior acting experience, the Somali native gives one of the most memorable displays in recent memory as the main antagonist.

Even though the ending is rather clear from the get-go, it’s the intensity of every moment which matters. There’s rarely a second to breath as the cat and mouse game between the container ship crew and the pirates unfolds.

I love entertainment which challenges our preconceptions. It’s easy to say Somali pirates are all terrible people. Captain Phillips has no notion to disagree with the idea of what they're doing is wrong. However, these situations are never clear cut and it’s important to understand the true motives behind any action.

While a thriller at heart, there’s certainly not a lack of purpose.

4.The Wolf of Wall Street- Over the top is an apt descriptor of Martin Scorsese’s dramedy on corrupt stockbroker, Jordan Belfort. The lavish lifestyle led by DiCaprio and crew is both a tempting fantasy and an abhorrent abuse of power. It’s a cautionary tale against Wall Street. Beneficial isn’t out of the question, but it can and will undoubtedly be taken advantage of by those in power. We aren’t meant to understand the how, but to fear the who.

As I mentioned in my I Watch Things Too piece, that’s a rather poignant message.

There are more than a few surprises to speak of too. Not in the sense of big twists, but firstly within the comedy. These aren’t the type of laughs you’ll find in your standard comedy. It’s more about the taking in of the outrageously perverse and laughing it off. Average Joe, the audience, is looking in on the 1% in disbelief, but cracking up the whole way.

The second surprise is Jonah Hill. Moneyball saw his rise to the serious role but as Belfort’s best friend, Donnie Azof, he’s able to combine a new style of comedy to his repertoire and some serious acting chops. Whenever he and DiCaprio are on screen there’s a synergy which makes the very lengthy film feel entirely worthwhile.

Not every scene is needed, but few get in the way of the viewer’s enjoyment. While the big screen may not be ideal, especially if your theater is as bad as mine, I’m not sure there is a more widely encompassing and accessible piece of Oscar-bait this year.

3. Pacific Rim- This is probably the most surprising of the bunch. While every other film on this list was Oscar-bait from the day it was born, Pacific Rim is the complete opposite and I love every minute. It’s the unfortunate summer-blockbuster that never got the mainstream attention it deserved.

Director Guillermo del Toro is known for his creativity, see Pan’s Labyrinth, and despite Pacific Rim’s clear inspirations, there’s an undeniably unique style. It’s bombastic skyscraper sized robot action, but not completely mindless like Transformers. It’s mechs versus kaiju, but not Evangelion. It’s something both familiar and new.

While you’ll come and stay for superbly captured action, there’s some incredible world-building at work. From how the mechs are piloted by two humans forming a literal mental bond, to the Ron Perlman ran black market selling kaiju remains, it’s an atypical summer smash.

The occasional machismo may initially turn some off, though I feel it’s rather fitting, but again Pacific Rim remakes the mold. Opposite -and equal- to Charlie Hunnam is Rinko Kikuchi who’s Mako Mori becomes the most intriguing character of all.

Pacific Rim may not be making an appearance at the Oscars, though the visual effects outclassed several of the nominees, but don’t discredited it. It set out to bring the best of so many worlds to Hollywood and it did so with exceptional results.

2. 12 Years a Slave- Slavery in America is no stranger to Hollywood or entertainment in general, so it can be rather difficult to tread old ground with fresh eyes. Considering 12 Years a Slave is on this list, it’s safe to assume director Steve McQueen found a way.

To some extent, the basic structure of film making is bypassed in the interest of storytelling. There’s no standard formula strictly adhered to. No, 12 Years a Slave wants to tell you the true story of Solomon Northup, a freeman kidnapped and sold into slavery. It’s strange to have a lack of concise direction yet still be 100% engaging. There’s not much build-up. It’s a series of events getting by on being so incredibly well done on every front that you don’t really care where it’s going, you just want to be there for whatever happens next. Many scenes are lengthy and more than a few shots are held for an extensive period. In this, the moments most integral are captured with crippling efficiency.  

Through music fitting of Saw- and distinguished cinematography- the more horrific scenes become iconic. Every one of Solomon’s emotions resonate like the bite of a great white shark. Mentally draining doesn't even begin to describe it.

At no point in did I sit and say “well that could have been handled a lot better.” Which- trust me- is extremely rare. Of course there are flaws, like some hushed or easily misconstrued dialogue, but when measured up to the all-around excellence they shrivel up and die. 12 Years a Slave can be brutal but my, oh my is it worth every bit of pain.

1. Her- Nothing on this list is more timely and creative than Her: the story of a man who falls in love with an A.I. Yes, anime fans; we may be familiar with A.I. relationships, but American cinema isn’t.

Acceptance is often at the forefront. Despite being an even more tech-happy culture, Her’s near future setting isn’t so alien that the idea of a relationship between a human and a “computer” isn’t taboo. Though initially the world-building doesn't support that clearly enough; one of the few flaws. Theodore’s, the protagonist, confliction and how it gives way to arguments between him and his A.I. girlfriend, Sam, is much more of an internal strife of morals and societal values. Heavy-handed struggles aren’t slapping you around. There’s a message, it’s conveyed, and that’s, that.

In fact, most aspects swear the oath of subtly. Visually L.A. isn’t strikingly different, but nevertheless its one setting you’ll surely be enamored with. It isn’t far-fetched, but at the same time it’s just enough more technologically advanced than we are that you get that “when do we get flying cars,” feeling.

What sets Her apart from the rest is individuality. From the plot, characters, and all the way to its presentation, there’s an air of something much of the western audience may be familiar with. Her is a romance through-and-through, but not in cheesy and overdone way. It’s genuine, meaningful, and timely. For that, it deserves to be my favorite movie of 2013.

Honorable Mentions

Steins;Gate: Fuka Ryoiki no Deja vu- An epilogue of sorts to the stellar anime, Steins;Gate. The ending is no shocker and it’s too short, but the journey is such an impassioned and satisfying experience for fans of the anime.

Gravity- An intense sci-fi thrill ride from start to finish. However you may feel about Sandra Bullock is inconsequential, this film is another top-notch production from Alfonso Cuaron.

The Wind Rises- I admit, I haven’t actually seen this one: much to my displeasure. It’s Hayao Miyazaki though, the king of anime movies and one of the best directors we’ve ever seen. It has to be good.

I Watch Things Too: American Hustle and Anime

Sword Art Online-  Such wasted potential.

In the world of Sword Art Online, a virtual reality MMORPG of the same name is released with a big surprise for players. Once t logged in they’re trapped inside the video game’s world. Die in the game and you die in real life.  Sounds interesting enough, right?

Sadly, I struggled to make it even halfway through. SAO is a cacophony of good ideas skimmed over in an inconsistent manner. One moment there's an interesting abuse of game mechanics, empowered by a dark tone, and the next it's light-hearted nonsense more apropos of comedy.  

If you're familiar with Log Horizon, SAO is a shallower version. There's some delicious drama to be had but it passes by so quick while being demolished by its flaws. Random ass-shots are one thing, but undermining one of the better characters is egregious. Asuna, a major supporting character, is talked about as this fierce warrior, and even shows it in fights. However when it comes to any sort of disagreement between players, she's made out to be a defenseless little girl. At one point protagonist Kiritsu has to fight Asuna's guild leader for "the right to take her."

This did release in 2012, right?

It's a shame. Whenever I started getting into Sword Art Online- like clockwork- several glaring issues would knock me down a peg or two. With all the great anime out there, I can’t advise anyone to spend even a second on Sword Art Online.

Sunday Without God- High concept, yet often flawed, there’s both a lot to enjoy and dislike about Sunday Without God. Set in a world which God has abandoned, the dead are never truly dead, society has collapsed, and 12-year-old Ai Aisten’s life is reshaped when she learns the truth about her village.

Pacing is an interesting thing. While there is an overarching plot, a cheesy one about Ai wanting to save the world, the narrative is broken down into several minor arcs. Some are great and others, well… they can be not so great. For example, the initial arc is anti-climatic, convoluted, and awkwardly leaves potential plot holes and contradictions for future episodes. On the flipside, episodes 10-12 posses an excellent tidal wave of an emotional tale of breaking a classroom’s students out of a time loop.

Artistically, it’s a mixed bag. The world design, color palette, and lighting make for some beautiful visuals. Well, at least when not being blocked by uninspired character design. Imagine the worst of stereotypical 2000’s anime characters and there you have it.

While far from the best anime of 2013, Sunday Without God is a solid addition to the lineup. It’s a conceptual powerhouse and often dripping with tear-jerking drama. Still, it’s impossible to overlook the many flaws. For 12 episodes, I managed to put up with them in hopes the story would pay-off, and sometimes it does, but there is a clear lack of advancement of the central hook. Hopefully the OVA clears this problem from the board, because despite the issues, I did enjoy Sunday Without God.

Akira- My anime fandom is something fairly new. I enjoyed Gundam as a child and attempted to watch Dragonball Z and Pokemon to little avail. So until four years ago my experiences were limited. This is me not so subtly hinting I’ve never seen Akira.

For you non-otaku, Akira is oft credited as the best anime film and the reason why the genre became so popular outside of Japan in the 80's and 90's. It’s even been credited as an influence on cinema outside the island nation with regularity. So yes, it’s pretty important.

Opening up in a refreshing manner, there’s a lack of ham-fisted exposition even modern critically acclaimed films fail to execute. With little dialogue it’s up to the viewer to pick up on all the environmental details and action. It’s the classic adage of “show don’t tell,” masterfully at work. And with a stunning level of detail in a gorgeous dystopian- cyberpunk Tokyo, it’s never too difficult.

Pacing becomes a synonym for perfection when Tetsuo loses control of who he once was due in part to his new and mysterious telekinetic powers. It not only tears apart his young biker gang, but the city of Tokyo too. Cultist and revolutionaries are ignited by “the second coming of Akira,” and the chaos fueled tension is enthralling.

When it comes to character progression, world-building, and animation I’ve seen little outclass Akira. I now understand why it has not only become a classic with anime fans but a world-wide darling of the critics.

American Hustle- You know those movies which try to be such a well written low-key story, but forget to have any tangible conflict or tension? That’s American Hustle. There’s 90% of the workings required of a compelling narrative, but one big thing is missing: a payoff. It’s not that all the loose ends aren’t tied up, there’s just no powder-keg culmination of strife. It’s as if it gets two-thirds up conflict-mountain and decides to circle around, avoiding the heart-straining exercises it takes to reach the peak. Which is a real shame, because the rest of the film is quite good.

Undeniably, the greatest strength is in the acting. Christian Bale has his particular style, but it’s completely broken. Yes, his character isn't conventionally attractive as per usual but the real beauty is in the character. Irving Rosenfeld isn’t the type of person to make you think Christian Bale, but he nails the skeevy anti-hero in surprising fashion. And it’s not just Bale, everyone from Jennifer Lawrence to Louis C.K. melds wonderfully.

Yes, comedian Louis C.K. plays a supporting role, so it wouldn’t be crazy to expect some comedic relief. And this is another area of weakness. For the most part, the laughs serve their purpose, but towards the latter half the jokes keep rolling in. Which would be fine if they were effective and didn’t undermine that whole “conflict-mountain” thing I brought up before.

They Oscar folks love American Hustle, and I’d be inclined to agree with them if a key piece of  storytelling wasn’t forgone. Conflicted is not the emotion a movie should leave you with. And well, since American Hustle does exactly that, you’d be best served putting this one on the back burner for now.

Avatar: The Last Airbender- When you think anime, you more than likely think Japan, but there are other nations contributing to the genre. While Avatar: The Last Airbender is clearly an American production, the influence of the far-east is very apparent. An American anime sounds like a great idea, and it is. Mixing two cultures can be a wonderful thing.  

Note: Target audiences are a real thing, but assuming they’re Berlin Wall-like dividers between who can and can’t enjoy a piece of entertainment is wrong.

I enjoyed Book One, season one, but the biggest issue could be summed up like this. A young target audience doesn't excuse bad writing. Indeed there are well written “kids” shows, which is why I find the repetitive episodes of Avatar quite irksome. Aang, Katara, and Sokka arrive at a village, do something incredibly stupid to get themselves noticed, the Fire Nation arrives, fighting ensues, and then they escape after learning some sort of morale lesson. When roughly half of the season follows the same exact formula, there’s a problem.

The similarities between Avatar: TLAB and Naruto are also distressing.  Aang’s struggles with being the Avatar and the power which comes with it is almost identical to Naruto’s difficulty with being a jinchuuriki.  Hell, they even call them spirits and both character run the risk of losing control of themselves as they’re inner power consumes them.

I know it seems like I’m really ragging on Avatar, but the truth is I am enjoying it. The large cast has only a single weakness, Zuko, and there’s a solid mixture of laughs and accessible progression. It’s a light-hearted journey which does a  good job of not feeling outdated, despite it’s occasional lack of originality. The core trio are fun to watch, but Katara is the high point as she doesn't fit one particular character archetype. Sokka is good for a chuckle most times he opens his mouth and Zuko’s uncle is the goofy yet wise “cool uncle” you’ve always wanted.

Animation is top-notch, which should be no surprise considering Nickelodeon can throw money around like a reformed Scrooge McDuck. Appreciatively, there is a mixture of culture in both the style and subject. I wish they would be a bit more creative, but again, there’s a permeating thought that since this is Nickelodeon, it has to be overly simplistic.

While far from the country to genre bridge I was lead to believe it is, Avatar: The Last Airbender is not an all too shabby entry into the world of anime.