26 August 2011

Andy's Friday Four: Super Summer

Yeah, yeah, yeah, I know, it’s Andy’s Friday Five, but blame the studios for not being courteous enough to not bestow us with a fifth superhero flick. So four it is. I was going to include James Gunn’s Super as part of the equation, but really, any argument to support its inclusion would just falter. It’s a mentally deranged man who ‘fights crime’ as inspired by superheroes; he’s not heroic or superpowered in any fashion. As such, here we are.

May gave us our first bite of the superhero helping: Marvel’s iteration of the Norse God of Thunder, Thor, hit multiplexes with very positive reviews. It was a sign in the right direction for Joe Johnston’s Captain America, which at this point still lacked an adequate theatrical trailer and was clouded a bit in the secrecy world. Millions were made, Marvel was happy, and a month later Marvel hit gold again with a prequel to the X-Men franchise. Not nearly as profitable as Thor, but every bit as clever and great, Marvel had another success. DC and Warner Bros., not so much. GREEN LANTERN is a brilliant property that ultimately is still struggling to recoup its sizable production cost because of piss poor decisions. 3D didn’t add a thing, and the starpower of Ryan Reynolds and the sexiness of a one Blake Lively didn’t seem to really matter. The last superhero film of the summer was another one of those, ‘will it be a success or a huge shit storm?’ Captain America isn’t necessarily a popular character, and the public’s feedback to the films heavy patriotism was still uncertain. To the surprise of many – myself included – CAPTAIN AMERICA became, and still is as of this writing, a financial and critical success. Fans and critics dug its ‘40s vibe and the presence of a pure, uncorrupted hero of the people.

1. X-Men: First Class
I would love to write something brilliant to sum up why X-MEN: FIRST CLASS is at the top of my list, and I will, but I fear it won't be nearly as successful as this. Over at FlixChatter, Ruth took it upon herself to write 40 reasons why she loves the film, and frankly, that's one hell of a spot on list. The moment when Erik experiences serenity for the first time in decades and is fully able to unleash his near unlimited power; Henry Jackman's brilliant score; the stellar interplay between Erik and Xavier. Matthew Vaughn shot some absolutely stunning scenes, made all the more exhilarating by great editing which makes the movie fly by. The script is brilliant. The whole affair is brilliant.

FIRST CLASS boasts remarkable rewatch value, that much is certain. Stripping away all other X films, and looking at FIRST CLASS as a sole, stand alone endeavor, from beginning to end, it's one perfect story. The main big flaw is that there's not enough time to really do the Erik/Xavier friendship true justice. But what we have here, boy is it stunning. The story. The actors. The music. The editing. The director. The costume design. The special effects. The makeup. I enjoyed FIRST CLASS the most, and I think technically, it triumphs over the others.

2. Thor
Take Spider-Man's mantra of "With Great Power comes Great Responsibility", and apply that to the God of Thunder with acting out issues. And a ticked off and tired elderly father who gets pushed too far and banishes this young God of Thunder to teach him a lesson. Family dynamics, betrayals, character building, sacrifices, friends and world destroying mechanisms - it's great to be the movie THOR.

There's a lot happening, both in story and on screen, and I love that. Kenneth Branagh shoots the hell out of this film, making it possibly the most visually stunning of these pre-AVENGERS productions. The script isn't nearly as complex as I would like it, but there's just enough complexity in the Asgard material to appease me. Everything with Loki, for example: tremendous. That said, not a huge fan of everything that happened on earth, but I can deal. I do wish Thor's transformation from arrogant prince boy to hardened, Man Who Would Be King was padded out better. As it stands, it feels like whatever change he underwent happened primarily so he can shag Natalie Portman. Change like that doesn't last for too long. Hehe, funny sentence.

Similar to FIRST CLASS, THOR excels in multiple departments, and is both technically amazing to look at and listen to, as well as one hell of an enjoyment fair that demands rewatches. Another Marvel success.

3. Captain America: The First Avenger
Well, they did it. They actually did it. The writers and director made an genuinely good, realistic-like CAPTAIN AMERICA movie. That's quite the accomplishment. They should be proud of that right there.

Chris Evans is splendid as Steve Rogers, and Hayley Atwell is not only hot as Peggy Carter, but is also a strong female role that I wish had a bit more to do. It's obvious Hugo Weaving had a bit of fun with his Red Skull performance, which I'm sure he didn't have to do too much work to make. When I walked out of the theater, I was pleased, and pleasantly surprised by how much I liked it.

The major flaw of Steve Rogers was still there, though: he doesn't have enough dimension. What you see is what you get. Perhaps it might be refreshing to given a character like that for once since the emergence of 'broody' superhero films, but I want some substance to my character. I thought there was great material with Rogers when he was a publicity puppet to boost morale for the troops, but sadly, I just couldn't connect with the character enough. Still, Evans: I love you, man.

CAPTAIN AMERICA is a nice throwback to the 1940s, complete with great set designs and costumes. The action is competently shot and edited together. I enjoyed the presence of a young and innovative Howard Stark. Also dug the callbacks to THOR mythology. But even though I genuinely do like the movie, a second viewing wasn't as favorable. Hopefully that was just a fluke, and when I see it again (hitting DVD in mid October) that same sense of fun from the first screening will be there. As it stands, CAPTAIN AMERICA is in the middle, for me. I didn't love it, I didn't hate it. There's lots of good, and there's lots of *shrug*.

My apologies to Joe Johnston and screenwriters Christopher Markus and Stephen McFreely if I offended you. No matter what, you guys crafted a good, entertaining movie!

4. Green Lantern
What the hell? Did they really think this was good enough to invest $200 million + in?

No, guys. No.

It all starts with the script. And this is not a confidant script. If GREEN LANTERN was written back during the 2007 Writer's Strike, I very well could forgive it for the screenwriting imperfections and general laziness, but it wasn't. The writers were given time to develop it, and were given a sizable enough budget to let their imaginations take them anywhere. Instead, what they wrote was a halfhearted, dullish, faceplam-worthy script that doesn't remotely reach its full potential.

Something I love about superheroes is the complexity of them. Thor started off as an arrogant git who had to be exiled and stripped of everything that made him who he was so he could rebuild himself, his character, into a good person; Charles and Erik start off as close friends but their ideologies force them to separate, but Erik, under the monicker Magneto, never loses respect for him; and even Steve Rogers has a tiny bit of complexity, being the short, skinny boy without an ounce of strength selected to be the powerful symbol of America, and the weight that must hold. Enter the GREEN LANTERN universe, where an being - human or alien - is given power only limited by ones imagination, fueled by the Power of Will. Hal Jordan, the protagonist, is filled with fear, but instead of being paralyzed by it, he becomes reckless and rash. Yet he's what the ring thought to be a individual worthwhile of the Lantern's power. Hal's battle to overcome fear and fight the ultimate vessel of fear should be harrowing, complex, real, difficult, and amazing to see. Instead, it's handled with all the subtlety and attention of TWILIGHT.

I have a lot of negative things to say about GREEN LANTERN, even though my initial review - although expressing my disappoints - was generally favorable. With time, and two rewatches, I've grown to see a lot of unfortunate decisions that were made. And particularly I hate the FANTASTIC FOUR-esque vibe that permeates the production. It feels like a big budgeted Saturday morning cartoon, and if that's what you wanted out of GREEN LANTERN, then I guess you were happily rewarded. No, I didn't want another DARK KNIGHT from this franchise, but what I wanted was a nice character piece that knew the appropriate times to use comedy in the film and when to leave it behind. There are a few successes and good ideas in GREEN LANTERN, but they're just not enough.


The two biggest successes of 2011 were two films I didn't have much faith in. Imagine that. Next year, Joss Whedon will most likely wow and amaze us with THE AVENGERS and Marc Webb better make a worthwhile AMAZING SPIDER-MAN to warrant the "starting over" (as was coined in the latest EMPIRE magazine). If there's other superhero movies coming out next year, hell if I remember right now. So, my list and comments, agree or vehemently disagree?

25 August 2011

The Watcher: 08/18/11 - 08/25/11

BREAKING BAD S04E06 - "Cornered" (21 August 2011) - I watched "Cornered" two days ago, and I sit here Wednesday evening typing away, I realize I don't quite remember what the hell happened. I understand the necessity of a slow burn, of allowing the plot and characters to grow naturally before all hell breaks loose or wherever Vince Gilligan is gonna leave us at, but six episodes in, I'm just not feeling it. At this point last year, I think we got that pretty spectacular shootout, or at least Hank beating on Jesse. What we have here is Walter White being scared and paranoid, and sizes up his ego to Skylar by saying he's the motherf***er in charge of operations. Skylar scurries off, wants to leave, but can't. Hank is intrigued in this Heisenberg business which I hope will see him in a collision course with our dear ex-chemistry teacher. And Jesse impresses Mike with his brains, surprise, surprise. Will Jesse be pitted against Walt? That seems to be the natural evolution of this arc. After all, Walt hardly ever comes off as caring to Jesse, always berating him and being generally a dick, so I wouldn't blame Jesse for acting out against him. Guess we'll see. Just when Skylar was becoming tolerable again, the writers do this to her - make her insufferable. Ugh. A decent episode, but I want more. Score: 7.5/10

RESCUE ME S07E07 - "Jeter" (24 August 2011) - Those were some amazing World Trade Center shots, and that was one great speech from Lou about the 343 firefighters who lost their lives on 9/11. I'm really digging the resurgence and importance of that day on the show, how it's made Tommy how he is and frakked up Sheila's life. Speaking of Sheila, she had a nice row at Tommy about invasion of privacy, which in this case was a letter Jimmy wrote in the event he never returned home. "Jeter" seemed to be the episode where the light-bulb clicked in Tommy's head, and it was either let go of what happened that day - all the guilt and horror - and move on with his life, or hurry up and die already as to stop causing misery for those around him. I'm very interested to see where this series ends, cos I really don't have a clue. I don't want it to just end. I want a clear cut direction concerning where Tommy Gavin is going or where he'll end up. As for the whole Lou eating thing is concerned, out of all the subplots that have longevity, why did it have to be this one? Score: 8.7/10

TORCHWOOD: MIRACLE DAY S07E07 - "Immortal Sins" (18 August 2011) - After what seems like an impossibly and unnecessary long time, we finally, finally get a episode that deserves the TORCHWOOD name. Leave it to Jane Espenson to pen the episode to do it. "Immortal Sins" isn't perfect, but compared to the crap we've been dealt the last four or five episodes were nothing happens and nothing has been accomplished, this is friggin' gold. The biggest and greatest thing of all about "Immortal Sins" isn't the flashbacks that show Jack's connection (and possible unintentional starting of this whole damn Miracle Day thing) to the event or a new layer of mystery and intrigue with the single shot of the three men making a pack in the form of the triangle (last seen in episode 2). Nah, the best part of "Immortal Sins" is the car ride conversation between Gwen and Jack. For so long now, these two characters felt like guest stars to their own show. They run around and do stuff, but they don't feel immensely important or even like their heart is in it. Here, Espenson remedies that. Gwen and Jack are very blunt, drawing the line of where they stand very clearly. Their conversation is the most honest thing I've seen all year, I think. Jack yearns to live, and if tearing her face off her skull will help him do it, then he will; and Gwen won't hesitate to kill Jack if it means saving her family. It's a chilling set of scenes, but it's so brilliant, and so raw and honest that if nothing else this "Miracle Day" series, it will be the thing I remember. Off that train of thought, it does sorta suck that this whole Miracle Day thing happened because of a scorned lover and three men interested in power. I mean, I get it - the mystery and power of immortality. But at the same time, TORCHWOOD is about aliens and advanced technology (which I guess it applies to), not pissing matches or corrupt pharmaceutical companies. Hopefully this is a sign that TORCHWOOD will become that show I know and love again these final three episodes and deliver something grand. Barrowman and Miles were extraordinary this week, and definitely deserve a nod. Now, once again we have male gay sex. I got no problem with that, but Jack is constantly described as open to all possibilities. So when are we gonna get Jack hooking up with an alien? C'mon, please? Score: 8.0/10

TRUE BLOOD S04E09 - "Let's Get Out of Here" (21 August 2011) - Anna Paquin is smoking hot in this weeks episode, but the question is: is she hot enough to make me completely forgot this whole Lafayete/Mavis/medium thing? It's pretty stupid after all. That can't be all there was to it. The build up to this event has been a long time coming - halfway through season three - so there absolutely needs to be more! It cannot possibly all be resolved by now. Nada. Negatory. Anyway, moving on to other matters. Last week's very nice finale, with Paquin giving a eloquently stated "fuck" as she falls to the grass, shot and bleeding, is quickly resolved as Bill gives her some of his blood, which results in the fantasy threesome world depicted above. Possibly the two luckiest actors alive, yes? After dream world, Sookie inserts herself into the fight once more, attempting to stop Antonia from controlling all the vampires and going on a killing frenzy. Some pretty neat stuff, frankly, and I look forward to seeing how this all develops. In the same category of giving kudos, I gotta give props to the writers this season: with the exception of this medium/Lafayete/Jesus shit, this has been a competently written, acted, and directed year. So, here's a cyber round of applause. From the looks of it, the season is going to end strong with plenty of carnage, romance, and more mystical mumbo jumbo. Sign me up! Score: 9.1/10

24 August 2011

Fright Night

Fright Night

Starring Anton Yelchin, Colin Farrell, Imogen Poots, David Tennant, Christopher Mintz-Plasse, Tori Collette
Written by Marti Noxon
Story by Tom Holland
Directed by Craig Gillepsie
Release: 19 August 2011
DreamWorks, 106 mins., Rated R

Plot: Charley Brewster investigates his next door neighbor, Jerry, who happens to be an vampire intent on getting his killing a goin.

Take DISTURBIA but instead of a serial killer, the neighbor is a VAMPIRE serial killer. That's the basic premise. But once the premise is settled in, and it's up to Charley and his hot girlfriend to save the town from Jerry and his cunning nefariousness, they ain't so similar anymore. For one, FRIGHT NIGHT boasts this odd charm about it. Sometimes, it seems as though the scripts winking at the audience, acknowledging the vampire genre and its current marketable state (e.g., TWILIGHT, which even gets a mention!), and other times, it's as if FRIGHT NIGHT is going full on satire/overboard by spewing CG blood all over the place, a la KILL BILL. And somehow, the film balances a comedic, not-so-serious tone, with a dead serious, shit is going down vibe without one or the other contradicting or really pulling a person out of the experience.

I attribute all this to the brilliant Marti Noxon, screenwriter of this 2011 reboot, and veteran of Joss Whedon's masterpiece BUFFY, THE VAMPIRE SLAYER and mastermind of the short lived FOX series POINT PLEASANT (review here). Thanks to the very clever script and some great performances which clearly say, 'this script is fun, I wanna have fun, let's have some fun', FRIGHT NIGHT is lots and lots of fun.

Frankly, I didn't quite know what to expect going in. After all, never saw the original, and dunno if I want to now after seeing this (although I gather they are two entirely separate experiences). But what we have here is a horror film worth watching. There's Colin Farrell as vampire Jerry, and he can play sinister. Granted, if I was in the directors chair, there are some changes I would make to his performance, but overall, Farrel brings on the creepy and the sinister, making Jerry a frightening presence despite the name. Definitely near the end, where Jerry's patience is running thin and he just wants to rip some throats, Farrel definitely delivers the "GRRRRR!" During the scenes where he's actually trying to be charming...well, damnit, he's charming. The awesome Anton Yelchin who wowed me in CHARLIE BARTLETT, ALPHA DOG, STAR TREK, and TERMINATOR SALVATION continues to "wow." I love this guy, and you should love this guy. Perfect comic timing, and a perfect understanding of drama. Any casting director can't go wrong with this guy. And David Tennant. The Doctor in DOCTOR WHO himself, walking around in eye liner, a robe, a wig, and swearing frequently in his signature Scottish accent. Loved him. Brilliant. Hilarious. Owned the film right out of Colin Farrel's grasp.

I'll say it right now, with all the biasesies of the universe, David Tennant owns this movie. He doesn't pop up until quite a ways in, but when his Peter Vincent persona does make his debut, it's great fun. He's a drunk, he's a fake, and when he's actually confronted with real vampire shit, he pussies out and allows others to fall victim so he can live. Luckily, David Tennant being David Tennant, he didn't take the role just so he can wear eye liner and a wig: he gets his badassery on, and it's glorious when it happens.

Not like I'm over selling that, by any means. Another surprising element was there being a strong female lead present. Imogen Poots plays Charley's girlfriend but-maybe-not-really-a-girlfriend Amy,

Worth mentioning before I sign off this review, but I elected not to indulge in the 3D prices. Sorry folks, but I just ain't into that anymore. Unless something ginormous and game changing comes around. But as my 2D picture played, there were multiple instances that might benefit from 3D, and the director happily throws items at the camera to create that "Woah!" effect. So what I'm saying is that if you wanna take the 3D plunge, it just might be worth it. Not a guarantee, but at the very least, it appears as though they're trying. If you decide the 2D route, I promise you aren't missing much, and the flick works just fine as is.

In review: David Tennant was awesome as Peter Vincent. The movie is a brilliant balance of serious vampire mayhem and comedy "ha-haness". Loads of cartoony bloodshed. Faithful to vamp mythology with the exception of one 'ittle thing. TWILIGHT riff. Farrell freakiness. Yelchin greatness. Imogen hotness. Fast paced and clever. Well worth your time.

Rating: 9/10 = FRIGHT NIGHT is all about having fun at the movies. It can be genuinely creepy at times, but it relies more on jokes, cartoonish blood, and a quick pace and that's just fine with me.

Friends With Benefits

Friends With Benefits

Starring Justin Timberlake Mila Kunis Patricia Clarkson Jenna Elfman Bryan Greenberg Richard Jenkins Woody Harrelson
Written by Keith Merryman, David A. Newman, Will Gluck, Harley Peyton
Directed by Will Gluck
Release: 22 July 2011
Screen Gems, 110 mins., Rated R

Plot: Jamie and Dylan engage in a strictly sexual friendship minus the romantic entaglement thing, but of course, those pesky feelin's come out bubblin'....

Chemistry and script. In order for these romantic comedies or dramas to succeed, you absolutely one hundred percent need these two. Of course, every film requires these components: a shit movie would inevitably follow. However, when dealing with this specific genre, there’s certain expectations and troves the film must abide by. 96% of the time (pulled the number out of my ass; not official by any means) girl ends up with boy, the film ends with a kiss and a pop song that reassures the audience that everything will be alright, and the couple presumably live happily ever after. The two leads – er, characters – realizing their attraction for one another, overcoming any hurdles in their way, and ending up together is the genre’s DNA. Watching that same formula repeated infinite number of times can be entertaining for only so long, so there you have it – chemistry and script. Without those two supremely important elements, your romantic comedy or drama is going to fall flat on its face, be a load of utter bullshit, and be excruciatingly difficult to watch.

Earlier this year, the topic of two friends entering a strictly sexual relationship minus all the emotionally touchy-feely lovey-doveyness came out to mixed results. No Strings Attached featured two likable leads, and was actually entertaining despite the gigantic odds against it. And although I enjoyed it, upon further reflection and especially after seeing this, it didn’t quite deliver on its promoted premise. Plus, Natalie Portman and Ashton Kutcher can’t hold their own against the comedy greatness of Mila Kunis and Justin Timberlake.

I don’t say that out of biased love for Kunis who is beyond gorgeous or enjoyment of Timberlake’s music (which I don’t actually like), but because Kunis and Timberlake posess genuine chemistry, and the screen sizzles with energy and excitement when the two are on the screen. Often, the writers/director throws in a scene or two of the characters just sitting around talking about whatever amuses them, and they giggle and laugh and find common ground. It’s meant to be a character building moment, but hardly ever do they come across as anything but contrived moments forcing the audiences to find personality in these cardboard characters. Not the instance here. Maybe it’s the writing, maybe it’s the directing, or maybe it’s simply Mila and Justin, but dialogue and character interaction is one of the many strengths FRIENDS WITH BENEFITS has in its arsenal.

Another great component is that it takes the SCREAM route. The conventions of the romantic comedy are discussed, ripped apart, and mocked more than once in the movie. Hell, you even got Jason Segal and Rashida Jones in a faux romantic comedy (in the world of BENEFITS) that indulges in every cliché imaginable: setting, dialogue, characters, music). Funny aside: I momentarily imagined the Segal/Jones enterprise as another ingenious marketing tool for THE MUPPETS; but different companies and al that sorta doesn’t make that possible….) I don’t think this is going to be a huge spoiler to reveal this little bit, but in the end, Mila and Justin end up together. The finale is a true romantic cliché. But it works. The characters and film acknowledge them, and move on. It’s a part of the story, it doesn’t dictate the story.

That sense of fun is all over the flick. I laughed, chuckled, and grinned often. The chemistry between Timberlake and Kunis is perhaps the strongest and authentic all year. The script is self-referential, crude, dirty, and clever all in one. No, FRIENDS WITH BENEFITS isn’t the embodiment of romantic comedy perfection, but it’s a pretty darn stellar film when all is said and done. I loved these characters, and I didn’t want the ending to come because I didn’t much fancy the idea of parting with them. I don’t know if the characters will stay romantically involved, but hell, it’s guaranteed that the sequel – following the demise of that relationship or the continued growth of it – would be just as entertaining and hilarious as the beginning of it.

I have some nice things to say about the film, indeed. As for negatives, the only thing that I found myself displeased with was the ridiculous-yet-mandatory crux in the relationship. That thing – event or phrase or what have you – that separates our lovers from fully indulging in their romantic notions. Basically, one is pissed off and the other one is stubborn or sad and don’t communicate. In the end, there’s the resolution of happiness. It’s difficult to tackle that annoying clichéd obstacle, but similarly to the whole ‘handling-a-tried-and-true-formula’ it all depends on how the writer(s) tackle the matter that makes the difference. Unfortunately, they aren’t all that successful in delivering a believable, realistic obstacle. It feels very forced, and that’s an immediate pull out.

Of course not all will love FRIENDS. I went in with low expectations. Frankly, the prime motivator here was Mila Kunis. She’s hot, she’s feisty, and she knows how to deliver comedy. It’s just a surprise that not only did Timberlake deliver a great performance and Woody Harrelson was hilarious in his underused role. Low expectations help, and in this case, I probably shouldn’t hype it up too much. Just go in with the hope of a fun, raunchy flick, and you’ll get exactly that.

In the case of FRIENDS WITH BENEFITS versus NO STRINGS ATTACHED, FRIENDS wins. The characters are more real and personable, the script is clever and funny, and most of all, I enjoyed my time more.

Rating: 8/10 – FRIENDS WITH BENEFITS succeeds in presenting two immensely likable characters accomplishing the impossible: making us believe in this scenario, these characters, and their words with absolute conviction. Loads of fun, don’t miss.

23 August 2011

Tuesday Cap - Vol. 31

Title: Alligator

Notes: I won't criticize anyone for not having seen this little gem, but if Creature Features are your thing, one really ought to check this out. Years ago, when the Sci-Fi Channel was actually good and something worth talking about, they played ALLIGATOR and its sequel, cleverly named ALLIGATOR 2. In the last two years ALLIGATOR hit the DVD world, and unfortunately, part 2 did not. These two flicks have a certain charm to them. The writers, director, and actor all know they're not making one of the greatest movies of all time, but they aim to make the bestest alligator-on-the-loose flick they can with their limited budget. The writing sucks, and the actors kinda just show up for the roles, but I like to think it's all part of the bigger plan of channeling this deliberate B-movie vibe. A bigger budgeted homage film, in a way. As for the alligator, the real star of the piece, well - he doesn't disappoint. When the alligator gets loose - and I don't really think that's a spoiler people - it causes some fantastic mayhem, including a poor birthday and wedding surprise. Not great, but very good, if anyone wants to throw on some hammy Creature flicks and rekindle the good ol' days of these classics you can't do so without ALLIGATOR. Seriously, Netflix it, then download the sequel. If you haven't heard of it 'till now, you're welcome for introducing you to it. Go watch and enjoy. Really, run!

22 August 2011

MMAM - Vol. 42

So I suck. I haven't blogged, but I have been lurking around blogs liked Rachel's Reel Reviews, Man I Love Films (man, I love that site), and Random Ramblings of a Demented Doorknob. If these sites aren't already on your blogroll, stop reading this pronto (but come back) and add 'em. You won't regret it. Alright, now that I've done my sucking up to those guys, time to bring this blog back into style, and what better way to do so than with a new edition of Much Music Awesomeness Monday(s)?

I'm in school mode (big surprise considering school resumes in mere hours), and for some reason, I associate school with AMERICAN PIE even though with the exception of the first, none of the films are really don't center around school. That aside, here's the opening song from AMERICAN PIE 2 from Blink 182. You can also blame the girlfriend for this. We downloaded a CD called "The Edge" with a bunch of punk/rock music from the 90's, and it rekindled my love for the band. However, I could have easily done without enduring Hoobastank's damn "The Reason." Bloody hell, shoot me now.