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: 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.

I Watch Things Too: 2013's Biggest Big Screen Disappointments

Elysium- Back in 2009 Director Neill Blomkamp came onto the big screen with District 9 and caught just about everyone off guard. Not only was it a great bit of sci-fi action, District 9 packed quite the punch as a twist on apartheid in South Africa and similar historical events.

Elysium takes the same “action with a message” approach but with a far more relevant topic: immigration. Earth has gone to hell and everyone of means escaped to the space station known as Elysium, where money can buy you anything. Example: in home med-stations capable of curing cancer in a matter of moments.

Blomkamp’s years as a 3D animator on shows such as Smallville and Stargate SG-1 have not magically vanished. Elysium is a visual achievement across the board. The overpopulated and dilapidated Earth is a site to behold.

Visuals and creativity are a big part of sci-fi, and while Elysium nails both, it fails in the story department. Protagonist Max (Matt Damon) is merely okay and supported by a cast which never gets fleshed out as much as needed. Love interest, Frey, (Alice Braga) is not so much a character as a motivation for the ex-con and semi-selfish protagonist. Appearing and then inexplicably vanishing makes her development nearly nonexistent. And that’s precisely why the overarching message fails. With little to no character investment, it’s a hollow allegory. The final moments are clearly meant to be emotional, but I sat there questioning “that’s it?”

What I found most interesting about Elysium’s political ramifications was not actually in the movie. It’s the criticisms on the lack of subtlety. Folks, can we really afford to beat around the bush? And why do allegories always have to be subtle? The Crucible is as subtle as Phil Robertson's religious views, but it still receives praise. If you have something important to say, then say it. Be blunt if necessary and, get your point to hit home.

My expectations for Elysium were high- I’ll gladly admit that- and disappointment can often skew one’s vision. There is no mincing of words here. Elysium is slips within the 6.5/10 range. The action has its moments and it can be visually stunning, but the story falls short of driving home what should be a relevant and sympathetic tale.

The Hobbit: The Desolation of Smaug: Often times when a book makes the transition to another medium there are those who criticize because the movie, show, or whatever isn’t an exact retelling. Lord of the Rings fans are notorious for this. Especially in regards to one Tom Bombadil, despite his lack of relevance to the central plot. I for one, am not amongst such a crowd. If it’s good, it’s good. So long as the liberties taken are not so bold you could hardly call it by the same name, I’m not going to cause any fuss. Hell, I rather enjoyed what was added to The Hobbit: An Unexpected Journey.

So it should be surprising when I say The Desolation of Smaug’s biggest issue is straying too far from the book.

The Hobbit is not a traditional sequel by any stretch of the imagination. Sure, Bilbo’s finding of the ring and subsequent use is important, but it takes a back seat to the real story. That being a tale of adventure and dragon slaying. And there’s the major issue. DoS isn’t quite sure if it’s The Hobbit, or a proper prequel to LotR.

The first third overstays its welcome or is made irrelevant by the lack of a proper conclusion in the remaining time. If you’ve caught any pre-release buzz, obviously Legolas has made his return despite not being in the books.There’s this weird dwarf/elf love triangle between him, Tauriel (another addition), and Kili that only serves to detract from other events. There’s a sizable scene focusing on the orc, Azog, who then disappears well before the halfway point. It’s these inconsistencies which lead to a schizophrenic film, but the real offender is Gandalf’s portions. For much of the movie he spends time trying to piece together Sauron’s return. While initially interesting, there’s a reason why it was never explained what Gandalf is up to in the book. We know this tale. It’s the LotR. If you’ve seen The Fellowship of the Ring, you know Gandalf was hard at work exposing Sauron’s return. Have some faith in the audience to be able to pick up on something so obvious; no need to tell the same story twice.

Once the party arrives at Laketown things are more focused, and a coherent plot actually begins to form. Wouldn't you know it’s because most other nonsense is dropped in favor of actually being a Hobbit movie. Best of all though is Smaug. Bilbo’s initial encounter with the infamous dragon was always my favorite part of the book and it's captured quite well. The cat and mouse conversation is taut as could be. Even the additional action added is enjoyable, as is much of the action of the entire film. Obviously anytime Legolas is on screen is guaranteed to delightfully stabby.

Is The Hobbit: The Desolation of Smaug bad? No, it’s fairly enjoyable, but nowhere close to the quality of other Tolkien-universe films. There are some major issues I’m sure will continue into the final piece of the trilogy, but they didn’t destroy my interest in seeing things through to the end.

I Watch Things Too: Something for the Bebop Fans

Wolf’s Rain- Humanity has fallen, the world is dying, and the end times have arrived. For such an oppressive world to birth an inspiring journey around friendship, brotherhood, love, and faith would seemingly be out of place. Leave it to Cowboy Bebop veterans Keiko Nobumoto (creator/writer), Tensai Okamura (director), and Yoko Kanno (composer) to pull such a tale off against all the odds.

Initially the meager setting explanation and how four wolves came to be able to shift back and forth between their human and lupin forms is slightly off putting. Fortunately the mystery surrounding what happened and what’s going to happen is reason enough to carry on. By the fifth or sixth episode there are enough breadcrumbs to become engrossed in the sympathetic cast.

Giving human forms to the wolves could have been a lazy and cheap tactic for character relatability, but their lupin core is at the forefront. Wolves are not played up as this downtrodden minority grasping for acceptance in society. The dynamic is inherently beneficial at avoiding cliches and thusly each episode ends on a profound high note.

When getting into a groove of several episodes, you’re not watching from the comfort of your home. You’re apart of the journey. Kiba, Tsume, Hige, and Toboe’s struggles and successes are your own. You not only desire to see what happens next; you want to watch them reach their ultimate goal: Paradise.

For lack of a better term, the 30 episodes provide an extremely heartfelt story. Not a single character is a weak link, and the ever-amazing Yoko Kanno captures all the right moods with the expertise you’d expect from one of the best composers in anime.

Clearly no compromises were made during production. There was a vision and it was achieved near flawlessly. So commit Wolf’s Rain to memory. It quickly became a favorite of mine and I’m positive many of you will enjoy it too.

Agents of S.H.I.E.L.D.- I’ve been known to harp on American action in the television format fairly often. It’s been some time since I’ve been captivated by such a thing, but I went into Agents of S.H.I.E.L.D. with an open-mind. I do enjoy The Avengers- and much of Joss Whedon's work- so what was the worst that could happen?

Imagine The Avengers and Firefly having a child? Sounds pretty terrific right? That’s the clear intentions here, but the result is a mildly lovable bastard.

The above picture is actually rather helpful in explaining. See those outer most, generic looking folks? Well, they’re exactly what I expect out a CBS show. Not too risky, and cliched as could be. Then the pair on the left, well they’re not too bad. Whedon’s scripts are often known for their wit, and the scientific duo manages to hold their own. The Chinese women,- she’s actually Chinese, I’m not being ignorant- well she’s obviously a stone-cold badass and master of the martial arts. Really flexing those creative muscles there, boys and girls.

There is of course Phil Coulson, chosen solely because everyone else of note from The Avengers would have put them in the poor house or are too busy. Of course they forgot he died and now some sort of silly narrative retconning is being used as the big tease.

Despite these fairly significant flaws, I’m still willing to watch the second half when it comes on in 2014. Watching an inconsistent cast fly about the world and attending to matters Iron Man and friends couldn't be bothered with is surprisingly fun. The mystery surrounding the shadowy Centipede operation carries enough drama to keep from starvation. As much as I harp on the lack of creativity behind the cast, they do get the job done, albeit in a spectacularly average manner.

Can I recommend AoS? Not easily, but if your access to a variety of shows is limited and you’re dreadfully bored, give it a whirl.

Outbreak Company- If pandering can be done right, then Outbreak Company has achieved such a goal.  

In the world of OC, young otaku Shin’ichi has been hired as a diplomat and sent to a fantasy world, with anime and manga in hand. Why? Because the Japanese government desires to profit off the export. That’s as complicated as the story ever gets and the comedy is almost entirely reliant on hyperbole of the very culture it focuses upon. Chances are if you’re a more casual anime fan, Outbreak Company isn’t for you.

However if you are a member of the insular community, you very well may get a kick out the inside jokes. Are they terribly clever? No, it’s mostly “Ha ha ha! The boy who was a hikikomori, is now surrounded by the real versions of the 2D things he idolized.”

Early on there did seem to be some sort of message. Not terribly deep, mind you, but more than most comedic anime. In the fantasy world there is all sorts of racism and classism, but otaku culture brings them together. Considering the mudslinging otaku are subjected to from time to time, this is a right bit of irony, but quickly dissipates by the halfway point and then reappears in the final two episodes for a rushed conclusion.  

Outbreak Company isn’t great by any stretch of the imagination, but the cheap jokes are entertaining, even if they mostly boil down to having a laugh at one’s self.  In 12 episodes not a whole lot of note happens. So if you’re looking for something lighthearted and self-indulgent, by all means, watch Outbreak Company.

The World’s End- As a fan of both Shaun of the Dead and Hot Fuzz, it seemed certain I’d enjoy the final piece in the Cornetto trilogy. And surprise, surprise I did.

TWE is your standard fare of friends getting drunk, and causing a ruckus. Thing is, while reluctantly revisiting their old stomping grounds, they uncover an alien plot to assimilate Earth’s population. By Cornetto standards this is nothing too unusual and certainly gives way for plenty of hilarity.

Unusual though is the semi-serious tone the movie takes in the latter portion. I won't outright spoil the intended message of the social commentary. Think a more modern Dr. Strangelove. Although I’m sure plenty will call me crazy for comparing anything to the “holy grail” of comedy.

Holistically, The World’s End keep the laughs going at a steady pace with the occasional dry spell, and brings a fitting end to a strong trilogy of films.

World War Z- My expectations were low. Another zombie flick is not exactly something we so desperately need, and opinions were mostly negative. I came out the other end kind of surprised though. It’s not great, or even good really. Now applauding a film for being average may seem odd, but I mean it when I say my expectations were low.

The plot of Brad Pitt’s character globe trotting runs out of steam thirty minutes in and there’s not a whole lot of substance to speak of, but man did they nail those moments of mass hysteria. In the initial Philadelphia outbreak and subsequent Jerusalem one, when the shit hits the fan, it hits hard. The cinematography and set designs give a great sense of scale. There’s not only up-close streets shots, but sweeping ones encapsulating the fear of an entire city.

Oh, and bonus points for not pretending the concept zombies has never existed in the film’s universe. It’s more of a pet peeve of mine wisely avoided, but it always seems silly when you hear everyone asking “what are these things?” Zombies you dolts! Don’t pretend like you’ve never heard of them.

While I’m not suggesting you go and watch World War Z right this second, it wouldn’t hurt to catch it on a rainy day.