I Watch Things Too: Hey, Nothing Sucks This Time!

Sherlock- It’s been two years since Sherlock left us on a colossal cliffhanger, and finally we’ve gotten an explanation right? Well, I’ll let you find out for yourself, but the boys of 221B Baker Street are back.

Benedict Cumberbatch and Martin Freeman have exploded into Hollywood since season two, and a grandiose return is only fitting. Season 3 takes advantage of the hour and thirty minute run time in cinematic fashion. Each episode is treated like a single film in a trilogy. Previous years focused on a lone case- which works- but a change of pace is arguably necessary after an eventful series of off-screen events.

Holistically, there are a fair few alterations to become accustom to. Self-referential humor and teasing of fan speculation becomes almost as commonplace as Sherlock’s wit. Most dramatic though is the deeper look into the characters of Sherlock and Watson. Actual cases take a backseat until the finale, which to be fair is arguably the best case of all three seasons.

After a two year break, it’s understandable major alterations were made. Especially because of the influx of popularity and hype. You’ll likely be disappointed if you're expecting more of the same. If you want to see Sherlock take the next step towards some sort of climax, then I’m willing to bet you’ll be thoroughly pleased; especially by the finale. Seriously, it’s the best episode of the entire series.

Kyousougiga- You know how Kingdom Hearts gets incredibly convoluted after the first game but you still enjoy it? Well, that’s Kyousougiga. The creators must have even realized the messines, because it’s amusing a 10 episode anime would have a recap at the end. Explanations arrive late but an endearing/heartwarming tale loosely founded in Japanese history and folklore makes for one of the more enjoyable anime of 2013.

Attempting to explain the complexities of the plot would more than likely end in all of us having a headache, so here’s the highly simplified version. A young girl named Koto gets trapped in another world where she meets three people who await the return of their mother and father. Reunion and familial issues is what Kyousougiga is all about. That and stunning visuals mixing traditional and hypnagogic for a result both familiar and new.

If not for the half-explained setting, which has its moments of brilliance, and deliberately confusing naming of several characters, Kyousougiga could have been something really special in the frame of something light-hearted and impactful.

The Cabinet of Dr. Caligari- Finally, my college education is paying off. Film History and Appreciation is the course title and silent films and early “talkies” are the name of the game...or movie. Last week we watched a portion of The Birth of a Nation, which is pretty bad in its own right. I get it’s influential but the racism is too much.  But that’s not today’s subject. For now, we discuss a legitimately good silent film.

As part of the post-World War I era, one can safely expect plenty of morbidity. Even so, I was surprised by how well executed the horror is. The genre is not known for ageing well.

Side note: many are under the impression horror means scary, which is simply not true. Horror is an atmospheric thing and damn does Caligari nails it. The set design is stunning in a Tim Burton sort of way. From start to finish the uncomfortable feeling of alien-like despair doesn’t let up.  

Essentially a circus act has come to town and along with it multiple homicides which the protagonist gets caught up in. Portions can be fairly predictable but the major twist leaves just enough hints to be fair but not obvious. Acting will be the biggest issue for a modern audience. Over-acting is ingrained into the silent era, but there’s something equally brilliant about the performances. For example, Dr. Caligari’s influence can be seen in all mustache twirling villains.

I’m surprised by this one. The few silent movies I’ve seen are interesting more so for novelty’s sake rather than being genuinely well made. The Cabinet of Dr. Caligari isn’t the perfect film, dated acting and off-tempo pacing are just a few issues, but if you have a passion for entertainment of all kinds like myself, why not give it a shot?

Ghost in the Shell- Admittedly the first time around I inexplicably zoned out as I wasn’t in the ideal mood for watching something so complex. Shit happens- oh well- I gave it another go a few days later

"We wanna do that for real,” said the the Wachowskis when they approached producer Jason Silva with their proposal for The Matrix.  And who can blame them? Mamoru Oshii’s widely acclaimed sci-fi flick with a purpose is damn good.

Coursing through the veins is the theme of identity. What does it mean to be human? Are sex and gender things to be overcome by the ingenuity of humankind? Even ahead of its time, GitS poses the question of where humanity is headed when we become more integrated with our technology by the day? Such themes I revel in as a both sci-fi junkie and dabbler of paradoxes, yet I wish the hour and twenty minute run-time was more like two hours. The themes at play are handled incredibly well and make for a rich experience, but I want more dammit!

Motoko Kusanagi, the protagonist, easily ranks among my favorite leads. You can’t really place her in one category. Not quite female or male. And not entirely cyborg, but certainly not all human; she embodies the themes both literally and metaphorically. Humanity clashes with human-made evolution, crashing into the antagonist of the hacker with momentous results.

There isn’t a single heinous weak point to be found. One could write their college dissertation on the many influential aspects of Ghost in the Shell and how they permeate throughout the entirety of the entertainment industry. The animation ranks with the best of them- and coupled with a uniquely haunting soundtrack- Ghost in the Shell cannot be ignored.

Unless you’re an idiot like myself and decide to zone out the first time through.

I Watch Things Too: Kevin Bacon Hates Life

The Following- A retired FBI agent injured on the job by a serial killer who inevitably escapes from prison years later; drawing the agent back in after years of self-pity and alcoholism.

No, this is not satire.

From the initial minutes it’s easy to tell where this one is heading. The cliches and tropes of crime dramas are some of the most unforgivable thanks to age and overabundance. The Following attempts to toss every last one into a blender and construct something half-decent from the remains. A highly intelligent and poetic killer, a public suicide for shock value, crazy people who write on the walls, and mommy issues are a few of the most egregious. Some of these things are fine individually, but when compiled like some kind of chimera of cliches things get laughable.

Again, not exaggerating for a hyperbolic effect. I actually laughed on several occasions.

The one semi-intriguing concept is the cult which follows antagonist Joe Carrol. Too bad that one gets borked as well. Around every corner is another killer who would have you believe they belong to the CIA, what with their ability to infiltrate any situation. Combined with an incredibly incompetent police force which strains all suspension of disbelief, and you have one messy show.

When the protagonist, Kevin Bacon, looks bored in almost every line delivery, that's a telltale sign of a bad show. It kills me people would opt to watch a substandard addition to an ailing genre over something less tumor-enduing, simply because the former is familiar. You're entitled to like whatever you wish, but I may giggle -in the least condescending manner possible- when you say The Following is a good show.

The Wire- As I just exhibited, my relationship with crime dramas is anemic. An old standby of American television, which can and has been abused for easy drama.  Exceptions do exist, but for every good crime drama you get 10 of “The Following.”  The Wire, while bathing in the tropes, manages to take a deeper look than most. The result is a low key, but fairly complex character driven narrative.

Plots being driven by action rather than people has always been a personal hang up. That sums up just about most cop centric shows, especially of the Law and Order and C.S.I. variety. The formula isn’t inherently bad, it’s just wears thin rather quick in today’s environment.

Bucking some trends and going for the approach more familiar in film, Baltimore P.D. is a mixed bag. Few cops kind of give a damn, but what little hope they have has been nearly stomped out by a rundown and corrupt city. The rest, act more as leeches; doing the bare minimum in order to keep their jobs. The criminals on the other hand are a gang of drug-dealers and murderers. Other than Idris Elba’s character, Stringer, the cast is standard-fare, albeit interesting. They’re neither great nor terrible, but I couldn’t help shake the feeling I’ve seen most of them before.

Success is in the details. There are numerous nuances to how the case on the streetgang is formed and executed. Even on the wrong side of the law there are strategic plans being hatched. Not so coincidentally this is the saving grace. Stories centered on urban gangs similar to the notorious Bloods and Crips to be trite. They’re all bravado, no substance. In the Wire’s case, they’re mostly bravado, but with intellect.

In fact, that’s how most aspects can be described. Good but not great. It’s a well-rounded experience, with few true areas of weakness, but even in the later episodes of season one I never found myself glued to the screen.

Avatar: The Last Airbender- As far as anime is concerned, there are dozens upon dozens of better options than Avatar. That isn’t to say it’s not enjoyable though. My initial “review” of book one praised the majority of the cast, while criticizing just about everything else to varying degrees. Books two and three don’t exactly improve on the most dire of areas, but they continue to carry the torch touted by a large and enjoyable cast, fitting of shonen genre. Even Prince Zuko- who was horrendous- pulled a 180, and by show’s end is easily the best character. New faces tend to struggle. Case and point, Princess Azula and friends don’t get interesting until the final book and Fire Lord Ozai is a complete and utter letdown.

Arguably the greatest weakness of all is the world-building. For the most part it’s a stock east-Asian fantasy world with people who have elemental powers. Sprinkles of interesting tidbits- such as the Face Stealer and how bending influences technology- are glossed over. Most offensive is the reveal of the Fire Nation, whose villainy is exemplified through pollution and a strict no dancing policy. It’s as if the Eco-Villains and the parents from Dirty Dancing decided to team up in order to take down Naruto...err, I mean Aang.

Bad childhood references aside, not a whole lot stands out as anything more than par for the course. The animation is undeniably polished, but production values don’t trump creativity. Musically inept would be words of kindness, just have a listen to this.

Creativity is a mainstay of anime and Avatar has very little of it. The cast and the steady stream of laughs are what keeps things worthwhile, but not nearly enough to make this homegrown anime stand up to the best of its Japanese brethren. As one of the few attempts to cultivate anime in America, it’s a solid foundation point, but leaves plenty of room for improvement.

Grave of the Fireflies- Weaving the tale of orphans Seita and younger sister Setsuko during the final days of WWII, GotF is evocative- if horrifically tragic. After American firebombings take both their home and mother, brother and sister are spit out upon the dying Japanese countryside. With the war going the way of the Allies, Japan has little means to care for its citizens.

The general warning one receives prior to viewing is “you better have a lot of tissues.” Such descriptors are apt. I expected a series of smaller stabs to the heart followed-up with a killing blow, but from start to finish it’s practically unrelenting heartache. I say practically, because there are just enough lighthearted interludes between the adorable Setsuko and the admirably loving and responsible Seita. Just enough to make you care, only to have the rug pulled out from under your feet as their struggles increase.

Despite releasing in 1988, the animation holds up incredibly well. Not that this should be any surprise. Studio Ghibli hasn’t been called the Disney of the east- in terms of stylistic quality- for nothing. Bombings and eviscerated cities are just as stunningly gorgeous as the the playful scenes at the beach or among the fireflies. Through the top-notch visuals and reserved yet powerful soundtrack, the innocence of Seita and Setsuko, and the unfair cruelty of the world meld seamlessly.

Barring a single awkward scene transition, almost nothing of note comes to mind when trying to expose weakness. Typically I don’t point to more well respected opinions to back up my own, but Grave of the Fireflies is too important to leave to my words alone. Roger Ebert’s “belongs on any list of the greatest war films ever made,” and a 97/100 aggregate score on Rotten Tomatoes serve to further my point. Trust me, and trust them; this is not only a great work of its genre, but a tremendous film in general.

While director Isao Takahata insists his most acclaimed work is not “anti-war,” it’s hard to deny the feelings of disgust one feels after watching. A work of fiction it may be, but the inspiration which drove novelist Akiyuki Nosaka is embarrassingly real. Humanity at large is capable of great evil, of which the lack of sympathy and empathy helms the lives of Seita and Setsuko. Which is what makes fiction so great. There are intended and unintended messages making a piece in question bigger than just a way to pass the time. As I see it, Grave of the Fireflies’ major takeaway is that war births no winners; only smaller and bigger losers.