Good and Bad of 2010: Television

I watch a lot of television, and the following is simply my attempt at giving justly nods to deserving shows.

2011 promises to have plenty of interesting developments in the television world, and I can't wait to tally 'em all up and give the good/bad of this year. Until then, enjoy, and let me know your thoughts on any of the shows below or any that you watch and are not covered here. Cheers!

HOLY CRAP, I LIKE A PROCEDURAL

FX is the channel with some of the most interesting shows on television, and in 2010 they premiered their most recent effort. Based on the short story "Fire in the Hole" by Elmore Leonard, Justified saw the introduction of U.S. Marshal Raylan Givens, as playing by Timothy Olyfantastic, an man with some real talent with a gun and not a fan of authority. Thanks to clever scripts and phenomenal screen presence of the principal cast and guest stars, this is a series that can't be missed and refuses to produce even a mediocre episode. There is a Case of the Week, as per any procedural, but it is the actors, the interactions and familiarities with all these characters, and the dialogue that make this show work. With Olyphant in the lead and three dimensional characters, Justified should now be on everyone's radar.

WHY THE FRAK DID YOU CANCEL THIS YOU BLOODY IDIOTS?

Caprica, Syfy Channel, 1 Season, 18 episodes

Further proof that the Syfy Channel is bloody stupid. In 2004, Ronald D. Moore took audiences by surprise with his re-imagining of the 1970s Battlestar Galactica series, making a show that was often considered a poor imitation of Star Wars into a show that tackled rough issues that didn't necessarily have answers against the backdrop of the last of humanity running from their own creations who intend to wipe them out. Bleak stuff. Earlier this year a prequel series aired, set 58 years before the events of the 2004 series, detailing the rise of Cylons, the history of the Adama clan, and the descent into destruction of the human race. This mythic tale boils down to family and loss and grieving. Daniel Graystone can't confront the death of his daughter, so he chooses not to, constantly pushing technology to areas outside its limits. The clear cut idea of what's real and not real, human or digital became blurred, where a digital creation of a person is just as human as the original thing. Caprica boasted truly gifted writers penning truly spectacular scripts, scripts that were majestically brought into reality by stunning cinematography and breathtaking special effects - especially considering its television roots, how the series was executed rivaled the complexities and details of a motion picture. The cancellation of Caprica is perhaps one of the top greatest travesties of 2010, as the show was so expertly produced and written. And as the final minutes of the series roll, we get a glimpse at the things to come in the following season, and it would have been glorious. Epic, intimate, philosophical, thought provoking, beautiful, and a tale that rivals the legendary works of the Greeks in scope of tragedy and drama - believe me when I say that the TV landscape is a sadder place without this series.

THAT WAS EMOTIONAL

Lost, "The End"

Like the character or not, the Lost series finale "The End" featured a last act that I defy anyone in the universe not to become emotionally entangled by. The closing minutes of Jack walking through the bamboo field he began this journey at four years ago (in Lost time, I think), bleeding out, barely able to stand up straight, and Jack and (mostly) everyone in the Sideways world happy and reunited and ready to "move on", becoming engulfed in this white light - I may not have initially agreed with "The End", but that doesn't mean I don't appreciate how damn effective and beautiful these final minutes are. Months after the airing and after multiple repeats, "The End" was a fitting and as near perfect finale as I could ever have hoped. Yes, it's frustrating that certain questions that I feel are absolutely vital are not touched on in the slightest, but as a six-volume story about people, Lost is one hell of a success and deserves as many accolades as can be given.





SHIT GOT GOOD
24, episodes 17-24

The first half of 24's final season was dreadful. It was hardly recognizable as the show I loved, the show I made sure to tune into every Monday at 8 PM. Hell, I was at a point where if I missed an episode, I didn't feel remotely guilty. Please appreciate the magnitude of what I just wrote there. This is a show that was hugely important in my life, and it got to a point where I simply didn't care. If you feel your spine tingling and your skin chilling, I completely understand.

And then something happened. Jack didn't save the President of the Country-We-Don't-Speak-Of, and Jack didn't save his girlfriend, and then Jack got very, very angry. And then President Logan came back into the picture. Season eight, full of redundancies and regurgitated plot elements and boasting the most boring season in years, suddenly became must-watch television, where I was hooked from beginning to end and the fact that it was all coming to an end became an travesty again instead of a saving grace. Perhaps the writers saw the errors of their ways, or maybe they regained their groove, but from episode 17 onward, I don't think there was a more suspenseful television drama on the air at the time. 24 was back on its A-game, and ended the series with absolute respect to Jack Bauer and everything that came before. Coverage of the day can be found in three separate parts: Part 1 chronicles the first ten episodes where I was seriously confused on what the hell happened to the show I loved; Part 2 was more of the same, but then loving the twist at the end of the last episode; and Part 3 is basically one giant joygasm and epitaph on the entire series. 24, I already miss you.

Aftermath

Following season 4 is a toughie, and ultimately, Dexter didn't quite match the success of the previous year. When watched in full, the fifth season feels like one complete story, but week after week the flaws of the series was more apparent: the dreadful subplots, the horrible guest star, the sense that maybe the writers didn't quite know what direction they were going. I get what they set out to achieve this year, but I fail to see why it couldn't have been more...exciting, or emotionally satisfying. Not saying it wasn't a good year, it was indeed, it just wasn't a great one.

Impressive Apocalypse

With shows that deal with demons, Gods and Angels and other supernatural phenomena, the Apocalypse is a frequent plotline. It takes writers of exceptional skill and creativity to craft two entire seasons dedicated to such a cataclysmic event and make it fresh and exciting and emotionally compelling from start to finish. This is why, among many other reasons, Supernatural deserves some major kudos. Aside from being one of the most clever and brilliantly written shows on the air right this second, Supernatural provided audiences with twists and turns nearly every episode and a refreshing take on the end of the world. We were given the opportunity to meet Lucifer and get his side of the story; we were given ample time to interact and study with Angels and how they view the world and God itself. Heck, we arrived at a point where God became a character on the show; not in the flesh and blood sense, but what God wanted, what the overall plan was, and what is God became central aspects of the show. Supernatural turned into a series with complex issues and questions, and the weight of the world seriously rested on the choices of two brothers who would do anything for each other. No longer was the show about demons and ghosts turning the lives of everyday Joe's into a living Hell; Hell was ascending, and only Sam and Dean can stop it. The fifth season culminates the Apocalypse storyline in one of the most emotionally heart-wrenching but most creatively satisfying ways I have ever seen - and I watched plenty. Unforgettable television.

If you don't watch Supernatural take it upon yourself to rent/blind buy seasons 1-5 and do so immediately. You will not be disappointed.
Series I've been meaning to watch: Sons of Anarchy

Series I feel I should try to watch: Glee

Yes, I Like MTV: My Life as Liz

FAVORITE EPISODES OF 2010:

• "The Eleventh Hour", Doctor Who series 5, episode 1
  
• "My Bad", Dexter season 5, episode 1
• "Hammer of the Gods", Supernatural season 5, episode 19
• "LA X", Lost season 6, episode 1
• "Swan Song", Supernatural season 5, episode 22
• "Sundown", Lost season 6, episode 6
• "Entrada", Fringe season 3, episode 8
• "Fire in the Hole", Justified season 1, episode 1
• "The Pandorica Opens", Doctor Who, series 5 episode 12
  
• "1:00 PM - 2:00 PM", 24 season 8, episode 22
• "The Staircase Implementation", The Big Bang Theory season 3, episode 22
• "The Lodger", Doctor Who series 5, episode 10

Notice all the Doctor Who's? Hint. Hint.

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

And thus The Best and Worst of 2010 concludes here at Ramblings of a Minnesota Geek. I thank all the readers who tuned in and offered their thoughts, and hope to see y'all around this time next year [note: hopefully this last category will be expanded]. At the very lest, I hope these last six days were entertaining. 2010 is now pretty much done with, minus a review here or there I need to finish up. Now onward to 2011 and the many sequels and remakes it promises!

Good and Bad of 2010: Movies - Vol. 5

Now that Scott Pilgrim vs. the World is victorious as Best Picture of 2010, it's time to dabble in the films that just weren't successful, and I don't mean box office. The following movies represent the low areas of the year, the films that could have been so much better but are logged down by bad acting, or bad directing, or bad writing, or general bad baddiness. These don't necessarily represent the worst things I have ever seen [OMG (!!!) the pain (!!!)], simply movies that suffer greatly, elicit rolled eyeballs, and begs the general question of "why, oh why, was this movie made?"

It should be noted most of the movies below are either remakes or sequels. Wonder what that means.

The Worst Movie of I Have EVER Seen:

There is a movie more terrifying, more appalling than the likes of Troll 2 or Demolition Man or (possibly) The Room. It's Furry Vengeance. Released over the summer, I had the misfortune of watching the movie at a drive in. It was frightening, frankly, that a movie of this...er, caliber...was even released. True, I didn't need to actually watch the movie unfold, I could have instead concentrated my efforts on the lovely lass to my left, but Furry Vengeance is one of those movies where you can't stop watching because you can't believe how bad it is. And I don't mean enjoyable bad, or even 'their heart was in the right place' bad. This is just embarrassing, completely embarrassing and if I was an actor or man on the production team, I would completely erase any mention of this flick on my resume. I can't possibly imagine a child would even enjoy this movie, cos I have little doubt that even they're intelligent enough to notice that they've already seen every scene in this movie ten times before already in their lives. No amount of Last Airbender bashing or reminding myself of the colossal disappointment that was Clash of the Titans can amount to the brain dead, very-copy-deserves-to-be-burned atrocity that is Furry Vengeance.

The Bad

Legion
Dir. Scott Charles Stewart

Angels and bullets? A world of what? Worthy of every Razzie available (not already directed towards Eclipse), Legion proves that pretty much anyone can persuade Hollywood studios to finance shitty movies. Now where's the good ones? And don't let Stewart anywhere near the Preacher property. Similar to Skyline, visual effects and loads of explosions take precedence over a little something called plot. Hell, characterization and even logic are three seats back. Aside from a nifty Angel vs. Angel fight scene in the closing minutes, I can't honestly find anything redeemable with this production. If I were to recommend it, I would do so only by judging its MST3K-worthiness. Get some friends together, make some popcorn, and get ready to riff. And prey they don't produce a sequel.

Clash of the Titans
Dir. Louis Leterrier

A missed opportunity to make an thrilling, dramatic narrative not unlike Peter Jackson's Lord of the Rings, Clash 2010 becomes a uninspired, paint-by-the-numbers action film. Decent film, highly disappointing in its execution. What I wanted was a film that took an opportunity to really explore the world of the Gods and mankinds revolt against them and the subsequent fallout of that. What I wanted was a dab of political thriller tossed in with the Olympians bickering at each other and causing civil unrest. What I wanted was a dimensional hero that had no clear path, who was constantly searching for who he was. What I wanted was a movie with intelligence, with a story to tell and a coherency, interest, and creativity to see it executed. I received none of that. Instead, Clash of the Titans is a prime example of mindless entertainment, and forces me to shake my head in sadness at what a marvelous movie it could have been.

The Wolfman
Dir. Joe Johnston

The thing about this reintroduction of The Wolfman to modern audiences is that there really isn't much to say about it, and that, I think, is the real problem. Even as the film unfolds, my interest was wavering. Special effects and make-up (provided by Rick Baker) exceeded expectations and were utilized well, but similar to Clash 2010, it didn't reach it's potential. I'm not sure if there is any specific area to place blame, or whether blame should even be subscribed, but The Wolfman means well but ends up without substance, a hollow production that could have been highly memorable and even tragic. In the end, Benicio del Toro is rather obnoxious and mumbly, Anthony Hopkins is Anthony Hopkins, and the conclusion sneaks up on us faster than the Wolfman seeking his prey.

Alice in Wonderland
Dir. Tim Burton

A movie directed by Tim Burton for Tim Burton and fans of Tim Burton, not daring to stretch into anything other than a movie directed by Tim Burton for Tim Burton and fans of Tim Burton, boasting set designs, characters, personalities, and creatures that were obviously Tim Burtonized for Tim Burton's approval and the love of Tim Burton fans who felt compelled to go out and buy memorabilia that have images of Tim Burtonized Wonderland plastered on, thus making Tim Burton, and Disney, rich, and Tim Burton fans poor and happy and satisfied. Yea, that was one large run-on sentence, but really, it mirrors Alice in Wonderland, which just goes on, and on, and on, and on. I wouldn't nitpick the movie if it seemed that Tim Burton actually went out of his comfort zone and tried something else...........something NOT 3-D, kids.

Sex and the City 2
Dir. Let's-Leave-This-Blank

I saw Sex and the City 2 for free, and I felt robbed. Robbed of intelligence, robbed of the delight of a yummy Reese's peanut butter cup, and robbed of the hope it might be a slightly entertaining movie, or at least something bearable. I cannot possibly imagine any individual finding something redeemable in this giant 2 and a half-hour pile of garbage mess. Now I caught bits and pieces of the series when mum watched it here and there, so I knew the characters in a very general term, but what we're presented to here feels like a ginormous bitch slap to who these people are. Not one plot in this movie is remotely interesting, or borderline original or worth repeating. The end couldn't come sooner. The contrived fissure in the Big/Carrie romance was eye-rolling, vomit-inducing laziness. If - and I mean a big, gigantic if - the series ever sees a third movie, by holy flames of God, let someone else write it. And why, oh why, does Sex and the City get a sequel, and a movie written and directed by the talented Joss Whedon become a financial thump? There really is no justice.

Robin Hood
Dir. Ridley Scott

A imagined match made in heaven, Scott and Crowe present a lifeless, boring retelling of how Robin Longstride became a hero to many. Nice action scenes that do little to ease the boringness of the film, this is a sad case of what could have been. Boring, boring, boring, uninteresting, boring. Apologies to folks who liked the movie - I know a few from work - but Ridley Scott and Russel Crowe coulda done so much more with the story than what they did here. A huge wasted opportunity. Crowe still looks awesome all dirty and beaten up and ready to unleash Hell, but that doesn't do a whole lot of anything if there isn't a compelling story, a remotely well written script, or steady pace to help a film along.

McGruber
Dir. Jorma Taccone

With the exception of a few scenes of mild chuckle-worthiness, MacGruber is mostly dull, lacking in general hilarity, incoherent, and quite messy. Not even the gorgeous Kristen Wiig could save it. Better left as a 2-minute SNL skit.

2011: Must See

With 2010 done and over with, it's time to look forward to the rest of the year, and I shall do just that! It's a year full of sequels, remakes, and adaptations of existing properties (not unlike previous years, but 2011 features a higher quantity), and I gotta say, they all look amazing nonetheless. I'm giddy for most of the flicks this year, and 2012 aims to be even better.

Sucker Punch

I could say that I fell in love with the attractive girls in sexy outfits, but I'll just say that I am completely enamored with the trailer because of: 1) The visual style is mesmerizing; 2) There's a motherfrakking dragon; 3) Nothing makes sense in the trailer; 4) I must figure out why. 5) What is the plot? 6) Robots! Samurai swords! 7) Beautiful special effects. Good or bad, Sucker Punch looks to be a killer for the senses and a experience one won't soon forget. [25 March]

Source Code

Duncan Jones blew the collective minds of audiences with Moon, now he's destined to do it again with Source Code. Plus, Michelle Monaghan is hot. Oh, and this looks amazing. [4 April]

Scream 4

I'm in love with the Scream franchise, and if there was any doubt I wasn't attending the midnight premiere for the fourth film, you're sorely mistaken. [15 April]

Thor

Don't know much about the character, frankly, but the trailer has me convinced that Thor just might be a spectacular film. At least, I find myself itching to see this over Captain America (sorry, Cap). Besides, Norse Gods, family feuds, and the fate of the world resting on an arrogant God wielding an hammer sounds absolutely awesome, one of those must-see movies. I'm sold, can't wait. [6 May]

Pirates of the Caribbean: On Stranger Tides

Diss the hell out of the sequels as much as you want, I loved Dead Man's Chest and dug At World's End and I can't friggin' wait for On Stranger Tides. Sure, I'm sad that Gore Verbinski isn't in the director's chair this time around, and the movie thus lacks a certain, I dunno, authority to it, but with Elliot and Rossio as script writers and Depp and Rush back, I have confidence my time will not be ill-spent. That said, I have my reservations. Still, I'll be there opening night. [20 May]

Super 8

Monster. Alien (?). J.J. Abrams. Executive producer Steven Spielberg. Pretty. Ticket bought. [10 June]

Green Lantern

If I were to compare what I've seen of Green Lantern to a pre-existing franchise, I'd say we have another Fantastic Four on our hands. A fun comic book movie without substance, dimension, believability, and a bunch of groaning fanboys with their heads to their chest in shame. Believe me, I hope I'm wrong. Guess we'll find out. [17 June]

Transformers: Dark of the Moon

I didn't care. Then I saw the trailer. Oh. My. God. Want to see. Now. [1 July]

Harry Potter and the Deathly Hallows, Part 2

No other movie this summer matches my excitement for the final chapter in this saga about a teenage wizard whose acceptance of death in life will decide the fate of the world. And no, that's not a spoiler, just a brilliant theme that reverberates in all seven books. J.K. Rowling, David Yates: I love you guys. [15 July]

Captain America: The First Avenger

I know next to nothing about Captain America, but I know I like action movies, superheroes, Chris Evans, and Joe Johnston. With all those elements, how could it go wrong, eh? Yea, I know, so completely shouldn't have said anything, but early footage and pictures look promising. I'm not looking for a great Dark Knight-like film, just something enjoyable like Iron Man a few years back. I don't think this movie will catapult the Cap into a whole new franchise of his own, instead serving as a standalone movie that will lead into a string of Avengers flicks. At the very least, it offers the opportunity to watch Chris Evans in action, and I'd pay top dollar to see that. [22 July]

Red State

I heart Kevin Smith - A Couple of Dicks maybe excluded - and his next movie, Red State, certainly looks interesting. A movie Kevin has been looking to get off the ground the last four years, he finally got finance to make it a few months ago and had it edited and ready to go by January. Word of mouth says the movie is definitely an departure for Smith, as it's dark, gritty, and really good...with the exception of some pacing problems. Otherwise, sounds like Red State might be something to really write home about. Watching interviews, listening to SModcast, it's difficult to not become as enthused about the project as Kevin is, and I'm sure it's the hype and tidbits of info about the movie that has me excited like a little kid getting an Millennium Falcon for Christmas. It's premiering in Minneapolis in a few days, and unless someone wants to donate $78 to the cause, it doesn't look like I'm going, sadly enough, so I guess I'll have to wait until later this year to experience Red State like the rest of y'all. Gotta say: bloody can't wait, folks, bloody can't wait. [October 19]

Super

I don't know much about this movie other than it looks to be one hell of a dark comedy that's right up my creek, it stars Ellen Page as Wilson's 'superhero' sidekick, and it's getting a limited release as opposed to a full on launch a la Kick-Ass in hopes of gaining more bank. I hope it shows up around these neck of the woods, because my excitement factor is off the roof. Looks terrific. As for a release date, well, lets just say it ain't heading my way anytime soon.

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

And that concludes coverage of the movies in 2010 here at Ramblings of a Minnesota Geek. Tomorrow I delve into the world of television. Cheers!

Good and Bad of 2010: Movies - Vol. 4

And the best and favorite movie of 2010 is...

Scott Pilgrim vs. the World

Really, is anyone surprised? Anyone? I mention my love and devotion to this film more than enough. Yes, Scott Pilgrim vs. the World is the winner of not only my favorite movie of 2010, but what I also feel to be the best. I expect plenty of head scratching and disagreeing to go on, so allow me the opportunity to present my case. First I'm going to talk about why it's my favorite movie of the year, and then I'll get into points where I say my reasoning why Scott Pilgrim should at the very least be considered one of the best - if not the best - of the year.

I think it was December 2009 when the first few photos of Scott Pilgrim vs. the World surfaced on the interwebs and magazines like Entertainment Weekly. It looked interesting, but the primary factor that peaked my excitement was the presence of Edgar Wright, the man who blew my mind with Hot Fuzz [yes, I am indeed one of the few who loves Fuzz over Shaun, although sizing up the two probably shouldn’t be permitted due to the different genres they cover], and express undying love for this new project.

Then a few months after that more photos surfaced, and finally the trailer was released.

I was in love.

Scott Pilgrim vs. the World was destined to become one of the greatest movies of all time, one of the few that I would love unconditionally, mention or show to every single one of my friends until they got to the point they would plot certain death for me. A release date wasn’t set for the longest time, and when it finally was, nothing else mattered. Inception was great, and audiences spent the next two weeks discussing the ambiguous ending or dissing on M. Night Shyamalan. As for me, I was ready and waiting for August 13, 2010.

There was a midnight showing at the Carmike Stadium 20 in Oakdale. Not a lot of people showed up, most if not all clearly folks who were anticipating the flick as much as me based on the conversation I overheard pre-screening. It being a Carmike theater, there were a good 24 minutes of commercials and trailers, and finally the feature presentation. It was finally here, the most anticipated movie of 2010.

It did not disappoint. Scott Pilgrim met my expectations and succeeded them.

I loved every second of the movie. It was a thrill ride, full of comedy, action, gorgeous female stars, awesome cameos, beautiful special effects, a rockin’ score, a fast pace, and best of all, it was spectacular fun. Hell, I think the only other film where I had so much fun from beginning to end was Edgar Wright’s own Hot Fuzz. I left the theater in love, knowing it was my favorite – and most likely best – movie of the year, and one of the top favorite films ever. In theaters I had the luxury of watching it four times, and then three other times when they played it for free at my school. The first day of the Blu-Ray/DVD release it was purchased and explored, and by the end of the week, the bonus materials and (most of the) commentaries exploited and just as awesome.

First off the whole premise of the movie: Scott Pilgrim needs to defeat seven ‘evil’ exes to date Ramona Flowers, a girl he is so completely stricken with. Thanks to loads of video game playing, Scott engages in battle with the exes to keep the girl of his dreams (literally). There is so much that is awesome in that plot alone. Not only does it scream ‘fun!’, but it sounds absolutely exciting. I don’t care if it doesn’t make much sense that a League of Evil Exes is formed to take the heart of Ramona, or why they’re necessarily labeled ‘evil’, or why they blow up into coins, it’s all very brilliantly thought up and executed and it’s just so much damn fun, questioning the whole thing seems pointless. Brandon Routh is hilarious in his scene as the third evil ex, and by that point, you’re so completely sucked into the world of Scott Pilgrim, so sucked into the rules and jokes and video game and anime/manga references that literally anything can happen and anyone can be or do anything. The various music used in the film, and not only am I meaning the main band Sex Bob-omb but others like Metric’s “Black Sheep”, help shape the rhythm and feel of the movie. The quick-paced unrelenting energy engages the viewer in the opening minutes and honestly don’t let go, to the point where you arrive at the final credits and you’re bloody pissed there ain’t more. But where is there to go? It’s a nice, well-rounded, complete story. Sure, a bit more could be added to the running time to add more depth to character and such and add in complexity, but you got the general story, the boy falls for girl tale with a twist, and you have a hopeful, satisfying finale.

And the fight scenes. Holy freakin’ crap how can one NOT be wowed and totally engulfed in the awesomeness that is the fight scenes? Each fight with an ex is different, and that makes it all the more interesting and entertaining. They’re absolutely crazy, they are, like the type of overboard, hyper kinetic craziness of Quentin Tarantino’s bloody revenge tale Kill Bill, minus the blood, in this case. Any fan of action films owes it to themselves to see this movie. Any bloke who doesn’t like Pilgrim can’t possibly diss the fights, at least, I can’t see how that’s possible. They are spectacular, taking inspiration from martial arts movies and anime and video games, the fights work on multiple levels and makes you want to replay ‘em as soon as they’re done.

Any geek/nerd will find themselves enamored by the many references to franchises they love, whether it be a direct reference by a shirt or some visual thing or sneaky dialogue or musical homage.

Small sidetrack here so you don’t think that no matter what I was going to love the movie, that I went into the theater with a singular mind that could not under any circumstances be changed. Worth noting is that I was well on the bandwagon with the whole being sick of Michael Cera thing. I just had the honor of watching Nick and Nora’s Infinite Playlist, and there was absolutely nothing redeemable about Cera or the movie, despite my initial excitement. Michael Cera was playing the role he always played, reinforced not too long after that by Youth in Revolt. I won’t say playing Scott Pilgrim is a revelation, but this truly was a role Michael Cera was born to play. Yes, he does boast similarities to many of his previous works, but simultaneously, Scott is so much more. Cera is given the opportunity to be an interesting character with flaws (he’s an ass sometimes; juggling two girls), display a wide range of spectacular fights, be hilarious for the first time since 2007’s Superbad, and generally be the real star of the show. He didn’t steal the movie, ultimately, that was Kieran Culkin as Scott’s gay bestfriend Wallace, but Michael Cera defied his usual routine and delivered a rounded character that was immensely satisfying and marvelously portrayed. Hell, Cera’s little quirks and fidgety bodily movements helped the character.

This movie is two hours of pure enjoyment, of pure escapism. There's a lot of heart in Scott Pilgrim, and there's a lot of action, and there's a lot of fun and comedy. The unfortunate truth is that ultimately, the movie may not appeal to a large demographic, and therefore not as accepted and loved. For that rather large majority of folks who either didn't see it or like it, I hope what follows may at least inspire you to rewatch the movie or reexamine your thoughts.

Now how does Scott Pilgrim vs. the World possibly compare – and for that matter beat for ranking of ‘best’ – against such magnificent films like Black Swan and, for many, The King’s Speech? Well, frankly, it doesn’t. Scott Pilgrim is in an entirely different league from these other films, I daresay. The movie defies description, the perfect mixture of cinema and creativity coming together to create something so mind boggling perfect, I can’t believe more people don’t recognize what an true accomplishment Scott Pilgrim vs. the World is.

In an attempt to do so, I will tackle the film by category:

(a) Directing – Edgar Wright, you are a genius. No, Scott Pilgrim doesn’t boast imagery like the one take of Nina becoming the Black Swan and causing my jaw-drop because of how beautiful it is. Wright is a different kind of director with a different kind of style that is just as marvelous as Darren Aronofsky’s eye. Shaun and Fuzz hinted at Wright’s talents, but that was just kindergarten to what’s on display here. The camera is his playground, the frame ready to be manipulated for his pleasure. There are one shot location changes [i.e. Scott using bathroom, Scott exists in the school hallway], there are beautiful overheard twirls [Scott and Knives teaming up on Gideon], there are split screens [see below], there are shots framed just right it sells the joke, or the emotion, or the story [Scott walking through the party, eyes scouting for Ramona]. And Wright’s decision to twirl the camera to the right or left to lead us into the next shot on multiple locations is pure brilliance, which is only assisted in its cleverness by the movie’s superb editing. Now an argument against my justification for Wright’s skills as director can be that he bases many shots from source material – the graphic novels [see below], and although there is truth to that argument to an degree, it doesn’t fully hold. This isn’t Sin City here where Rodriguez and Miller fought to replicate the comic to cinema, but even if it were the case, Wright breathes life into those frames like no other. They’re fluid, they’re full of action and dimension. No part of the frame is left without a gag, or reference, or show off of the terrific set design.

(b) Adapted Screenplay – The origin of Scott Pilgrim rests in a six-volume graphic novel series by Brian Lee O’Malley, and the movie’s title comes from the second book. The script for the movie is penned by Wright and Miachael Bacall, and it’s brilliant. The dialogue is top notch, full of clever and witty jokes, scenes that are quick, concise, and straight to the point. Establishing a romance that feels real and complex in a short running time aided by fight scenes every ten minutes. Balancing all these various elements that make up Scott Pilgrim vs. the World isn’t an easy task, and thanks to the tight script and editing and even directing, it’s all present and accounted for and fantastically incorporated into the final product.

(c) Editing – No amount of tightly edited scenes in Black Swan or careful structuring in the epic that is Deathly Hallows, Part 1 compares. Without a doubt, Scott Pilgrim is the best edited movie of the year. With the small, tiny exception of the first five minutes (opening credits excluded), where the film lags ever so slightly [noticeable against the rest of the film], the editing is marvelous, pitch perfect. The pace is rapid, unrelenting; before you know it, forty minutes have gone by, and then it’s almost over. The cuts come so quickly, the pacing of the jokes is absolutely perfect, and no single shot overstays its welcome – everything is just sublime.

(d) Visual Effects – Well, frankly, TRON: Legacy owns the special effects in this department, and deservedly so, but that doesn’t mean the marvelous work here should go unmentioned. Name one other movie that takes place in the real world where a character jumps up in the air, throws a load of punches on a dude and sends him flying back to the ground complete with a numbered point score popping up with each punch, and visually looks so impressive and believable. Or take the fight where a two headed dragon and a giant gorilla (something) engage in a duel at a Battle of the Bands type deal. Or the bleached out, acid looking slow-mo shot of Scott and Lucas Lee running at each other (a beautiful nod to action films like Bad Boys). Or the sword erupting from Scott’s chest in the final battle. Or the various defying the laws of gravity in a fight or the words that appear out of nowhere. The special effects aren’t epic in scale like TRON, but they serve the story well, adding to it rather than making it like a particular bigtime franchise.

(e) Acting – I’ve already noted my feelings on Michael Cera: he rocked in the role, and played with the Michael Cera stereotype, overcame it, and became one of the great parts of the movie. If there is one real giant fault with my proclamation of Scott Pilgrim being the best picture of the year, and being so thanks to fulfilling the obligations of most, if not all, categories, it would be in the acting section. None of the characters are all that complex, and therefore, the actors don’t need to be as such. However, each and every one of the actors here is superb. As noted, Kieran Culkin basically steals all the scenes he’s in, Ellen Wong is adorable, cute, and kickass as Knives Chow, Mary Elizabeth Winstead epitomizes Ramona Flowers even if she gets the short end of the stick, Alison Pill is a comedic genius, Anna Kendrick is given limited time onscreen but impresses each and every time, Johnny Simmons is laugh out loud hilarious with his awkward moments and statements, and Mark Webber is perfectly cast as Stills who simply loves the band. And that’s not even counting the evil exes, who are the biggest success of the movie. Brandon Routh the Superman is the absolute best, Chris Evans the Captain America is hilarious in his impersonation of the bonafied action actor, Mae Whitman is one scary lesbian, Jason Schwartzman doesn’t annoy for the first time ever, and the Saito twins are the weakest link for the unfortunate fact that they have zero lines and are the movie in only one whole scene. Each of the actors here loves their roles and watching the movie over and over and over like I have shows just how committed and impassioned they were with the project. The comic timing is impeccable, and the actors own their roles.

I may or may not have completely sold you on the idea that Scott Pilgrim vs. the World is the best movie of the year, but at the very , very least, I provided the chance where a reader might reevaluate their thoughts on the movie and find the many successes within it, or at least cemented my unabashed love for it. Scott Pilgrim is unique, a film that amazingly blends special effects and live action superbly, having them complement each other without overbearing the other; a film that is fun, entertaining, hilarious, and awesome all at the same time; a film that tells a very simple and redundant story of the boy meet girl type but with a twist that makes the tale feel new and fresh again; and finally, a film with a eye for the frame that produces shots one is not likely to forget anytime soon.

For these reasons and more, Scott Pilgrim vs. the World gets my vote for being my favorite movie of 2010, and the best movie of 2010.

Good and Bad of 2010: Movies - Vol. 3

2010: What I Loved

This year has been a toughie. The list below is the result of difficult deliberation on what I really, really liked and or in most cases loved. As opposed to the last two years, the lists just naturally made themselves due to the quality of films. 2009 was particularly fantastic, with such titles like Watchmen and Whip It completely blowing me away. Ultimately only a few titles really wowed me in 2010, and therein lay the difficulty. The latter movies I hold in high regard, and my thoughts will follow as such. I recognize this may not be the most entirely conventional list in the blogosophere - after all, I haven't had a chance to see many of those "best of" movies - but perhaps that's a good thing.

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

The King's Speech

Notice this at the top of the list. The King's Speech is a very good movie, boasting some mesmerizing, strong chemistry between Colin Firth and Geoffrey Rush. And let us not fail to mention that Helena Bonham Carter was, freakishly enough, not remotely scary looking - in fact, she appeared quite sane. The performances are superb, all across the board; Alexandre Desplat's music shines and chills [especially in the scene where the King gives his address]; and Tom Hooper directs nicely with some pretty nifty shots [here I'm thinking about the voice training montage forty minutes in]; the script is lovely, with raw emotion and heart and plenty of comedy. It's a beautiful little film that is very, very well executed, but it's inclusion on this list rests on the shoulders of two men: Firth and Rush. Screw all the other accolades the Oscars felt worth bestowing on it, screw all the major press it gets, King's Speech great because of those two men, and, I feel, it would be a lesser movie without them.

TRON: Legacy

This was precisely the movie I was looking for. Overall, TRON: Legacy isn't the type of film that is going to be admired for years to come, talked about, or even loved, I think, because of the lack of complexity in the script and the emphasis on special effects over human drama, but I effin loved Legacy, and it's a superb effort from everyone involved and it was immensely engaging from beginning to end. The story of a son looking for his father - even following in his father's footsteps in many regards - is an interesting and compelling one, and nicely realized here. Yes, originality isn't exactly present in high regards here, I admit, but it's the execution I fine worth noting. That relationship is a strong one, father and son, and it serves the drama well. Flynn fighting his own creation is a beautiful sort of twist on creations rebelling against their Maker, prominent in Biblical stories or those futuristic robots-will-take-over-the-world types. Daft Punk's score is the most perfect companion for this movie, it absolutely is. The stars are magnificent, the movie flies by with ease, and as expected from a movie two and a half years in the making, the visual effects are sublime. Legacy is included here because it's a well made movie that is better than people give it credit for, and deserves props nonetheless for being one of the most entertaining rides of the year. [Review Here]

Predators

Here's a science fiction movie that's better than it has any right to be. The last two movies that featured a Predator in them were absolutely atrocious, and no amount of reasoning can possibly make up for the pain and agony of watching both AVPs. No excuse. And finally here comes a third movie in the standalone Predator franchise, and it kicks all kinds of ass. A group of predators - military men, mercenaries, basically dudes with guns - are thrown offworld to the aliens territory to be hunted :: game starts now. Friggin' spectacular. With a cast that fully delivers, including an buff Adrian Brody in a role many, including myself, didn't feel he had the ability to pull off, but miraculously did. That sense of danger whenever the Predator is around, that sense that winning this fight is near impossible, and that overall glee that comes over you when you see the Predator in action - it's all there. Predators is a success, paying homage to the original two, maintaining that same sense of atmosphere that served the originals so well, and perfectly staying in continuity. I would have been happy if they simply didn't frak the franchise up like they did with the AVP films, and they did so much more. They delivered not only a good Predator movie, but a good action/adventure, a good horror, and good suspense film. There is no reason Predators should not get recognition. [Review Here]

Kick Ass

Truth be told, it wasn't as perfect of a movie I expected it to be, but with repeated viewings, Kick Ass is still a strong, comedic, action film that hits more than it misses. It wasn't necessarily a social commentary on what would happen if some doofus was dumb enough to don a superhero outfit and fight crime...and eventually end up hospitalized or quite dead, instead it was a nice satire on the genre it loved, embraced the conventions, and had some fun with it. The movie wasn't complex by any means, but it was hilarious and fun and full of action. Plus, it enabled McLovin to test his acting skills in a character that wasn't primarily a dork. Mark Strong continued his streak of being in nearly every other movie I saw last year by playing the villain here, and he did it wonderfully. That's the beauty of Kick-Ass: it doesn't take itself seriously, and it's a perfect blend of satire/homage. And let's not discount that Kick-Ass gave the world Hit Girl, and that alone is worthy of high recognition. I'm interested to see where these characters go from here, so absolutely sign me up for Kick-Ass 2!

The Karate Kid

Truly the most surprising title on this list, I, like many others, expected this movie to not only flop in the box office, but be a major disappointment and overall suckfest. Turns out, not so much. The Karate Kid exceeded all expectations, and became a emotional, intelligent, and very well acted and directed movie about standing up for oneself and achieving discipline. To add to the surprise, Jackie Chan's performance is his most dramatic ever, brilliant as the instructor with a tormented past; Jaden Smith is jaw-dropping, frankly, in the lead role, absolutely charismatic and completely pulling off the martial arts/karate/what-have-you with the utmost believability and, dare I say, kickassness. Although I love the film, I do recognize some faults, such as pacing issues and a romance I personally felt was a bit forced, but none of that detracts from the enjoyment factor. One of the rare instances where a remake, or 're-imagining', actually works, The Karate Kid is a triumph. [Review Here]

Inception

Christopher Nolan really is a genius. Figuring out the mechanics of the multiple layers of dreamworld, miraculously placing enormous amounts of exposition that doesn't really feel like it's being delivered as exposition in a quick and understandable style, conjuring up some iconic and brilliant cinematography, and overall keeping me guessing about what the hell was going to happen next even after analyzing countless trailers, posters, and quotes. I will still always place Batman Begins and The Dark Knight as his best work above all others [Memento included], but Inception really was fantastic. The only problem I have with the film comes down to pacing: when Cobb and his gang enter the third layer (aka the snowy fortress), that's when the running time becomes apparent and editing becomes a garbled mess for a small time being. But the movie quickly picks up its feet a bit afterward, and all is fine again. As for the ending, I think it was perfect and appropriate, and there frankly couldn't have been an alternative. [Review Here]

The Social Network

That "Facebook movie" that ended up not really being about Facebook at all. Instead a riveting character study of a somewhat fictionalized Mark Zuckerberg (played perfectly by Jessie Eisenberg, successfully washing away all Michael Cera-comparisons) who acts like an ass, is a bit too smart for his own good, and ostracized a dear friend in the making of millions of dollars. Although the entire movie is pretty much perfect, with each actor delivering their best and David Fincher directing as brilliantly as to be expected and a rocking soundtrack to boot, the real outstanding element of The Social Network is Aaron Sorkin's script. The dialogue shines, similar to Diablo Cody's Juno script but a tad more clever, and thanks to Fincher's suggestion for a rapid fire, Gilmore Girls-esque delivery of the lines, the dialogue comes across just as compelling as an action sequence from, say, The Dark Knight. Much has already been written about this film, so I'll simply end by saying it was a pitch perfect film that defied expectations and was interesting and captivating from the opening seconds to the closing shot of Mark refreshing the computer screen.

Harry Potter and the Deathly Hallows, Part 1

This movie is superb. Not just as a Harry Potter movie, but as a film about a group of teenagers facing insurmountable evil in a community that has turned against them. It sucks to be Ron and Hermione, but more than anyone, it sucks to be Harry Potter. Everyone under Voldemort's grasp wants his head on a platter for the Dark Lord, and the few devotees to Potter he has tend to get the short end of the stick. So not only is the Wizarding community faced with political corruption, coercion, and a seemingly unstoppable antagonist, but there's even discontent in Harry's own camp. Ron faces his jealousy and anger and fear in two truly spectacular sequences that will forever leave an impression on me: the tent scene where Harry and Ron have a row, and later when Ron destroys the Horcrux by looking his deepest fears straight in the naked face and conquering them. With Order of the Phoenix, this series became a lot more than simply a childrens/young adult fantasy tale, it became a deeply personal story about a boy facing the darkness of the world and the sacrifices and trials he must make to beat it. The series is about friendship, about the darkness inside all of us, about our inherent goodness, about good vs. evil, right and wrong, and friendship and love. Deathly Hallows is a magnificent film that boasts no shortage of spectacular scenes, chief among them the creative animation telling the backstory of a child's fable. Daniel Radcliffe is mesmerizing and his performance nuanced, Emma Watson exudes the tragedy and, at times, comedy of the situation, and Rupert Grint does his finest work facing his darkest fears and blossoming romance. It's clear everyone on the production team were at their top game, and it will be quite difficult to match the same level of emotion, tension, and characterization of Harry Potter and the Deathly Hallows, Part 1. Quite a remarkable achievement. [Review Here]

Black Swan

Wow. Just wowness. Yea, I went to Black Swan primarily for the Mila Kunis-on-Natalie Portman action, I admit it. Coming out of the movie, I couldn't really believe what I just saw. It was fantastic, mesmerizing, powerful, and, dare I say, poetic. Yes, Natalie Portman gave a tour de force performance as Nina, a woman possessed with perfecting her craft to the point it starts to mess with her mind, but the real artistry of Black Swan is the technical side: the cinematography is breathtaking; the writing is top notch; the editing quick, precise, riveting; the music by Clint Mansell, incorporating material from the "Swan Lake" play, is outstanding; and the overall experience is like a nightmare that hits all your senses and you can't look away, can't even blink. Black Swan is superior to The Wrestler in my mind, for Black Swan is so much more than just a movie about a individual achieving perfection in their performance, it's a dark film with some ghostly imagery and feels very much like a dark fairy tale. Simply put, Black Swan works on multiple levels, and it can't be categorized easily just by one genre. Darren Aronofsky has created one of the most unique movies of the past decade, only rivaled by my number one choice. If there was only one movie in the Oscar's 'Best Picture' list I would say without a shadow of a doubt you must see, Black Swan is it.

And #1 best/favorite/most memorable movie of 2010 is....

...drumroll, please...

Gonna Have to Wait for Tomorrow!

Good and Bad of 2010: Movies - Vol. 2

Welcome to volume 2 of the 6-day Best of 2010 coverage here at Ramblings of a Minnesota Geek! Today is award day, where I give awards. Don't ya love in-your-face naming? Yep, me, too. Nah, in all seriousness, this is where the fun awards are given.

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

The 2010 Awards

DAMN, I HAD FUN AT THE THEATER:
The Best: Scott Pilgrim vs. the World
The Best, Part II: Inception
The Best, Part III: Predators

SERIOUSLY, I'M NOT A DOCUMENTARY:
Winner: I'm Still Here
Runner Up: The Last Exorcism

IN THE NAME OF HORROR:
BEST: Paranormal Activity 2
DREADFUL: Legion

WINNER OF THE A-TEAM KNOCKOFFS (LOSERS/EXPENDABLES): The Losers

BEST SEQUEL: Harry Potter and the Deathly Hallows, Part 1

SEQUEL BETTER THAN COULD HAVE EVER BEEN EXPECTED: Predators

THESE SCRIPTS ARE BRILLIANT:
1. The Social Network
2. Black Swan
3. Scott Pilgrim vs. the World
4. Inception
5. The Kids Are All Right

AWESOME SEX SCENE NOT TO BE WATCHED WITH MOM:
Mila + Natalie, Black Swan

LIST OF STUPID ENDINGS:
1. Dead body of dumb punk fuses with alien, takes over body, defends his woman.
2. The whole town's in on it, and the poor Pastor don't stand no chance.
3. Angel fights, dies, comes back, fights bad Angel after imparting words of wisdom, shit hits the fan.
4. Psychologically unbalanced man walks through a small lake for 5 mins. before fade-to-black.
5. After saving Spring Break, the bikinis ain't safe for long cos a whole swarm is commin', even though we didn't get what felt like a full-length movie to begin with; finish that before the sequel.

The One Movie You'd Have to Pay Me $100 To See: Cats and Dogs: Revenge of Kitty Galore

BEST BIT OF DIALOGUE: Dude, already wrote about it. Thank you, Aaron Sorkin.

GIMMIE ACTION FIGURE (!!!): The Kraken, Clash of the Titans

GOOD SPECIAL EFFECTS, BUT YOU FORGOT EVERYTHING ELSE:
Winner: Skyline
You're Next: Alice in Wonderland
Ugh, Really?: Clash of the Titans

LESSON: SOMETIMES THE TRAILER DOES SHOW EVERYTHING GOOD UPFRONT: Machete

YOU ARE A DIRECTOR, RIGHT? COULDA FOOLED ME: Jimmy Hayward, Jonah Hex

REMAKE WINNER: The Karate Kid

REMAKE SUPER LOSER: A Nightmare on Elm Street (since Alice in Wonderland technically isn't considered a remake)

FACEPALM WINNER: I'm Still Here

SUPAHERO TIME
THE BEST: Kick-Ass
THE GOOD: Iron Man 2
THE BAD: Jonah Hex

SUPERHEROES: DIRECT-TO-DVD
Winner: Batman: Under the Red Hood
Less Awesome: Superman/Batman: Apocalypse


And now for the awards that matter, of course...

SEXIEST ACTRESS OF 2010

RUNNER UP:

FAVORITEST MOVIE POSTER OF 2010

I will confess this was a bit of a toughie. First off, there are at least three more MACHETE posters that are simply awesome. Very excellent work done in crafting these posters. Secondly, although there are some nifty posters that came out this year, there aren't many that have a lot of wowness. Among the wowness, though, include one of the multitude of SAW VII and DEATHLY HALLOWS. Great work in constructing those, as well. Honorable mention should be directed towards the similar old-timed themed poster of the documentary BEST WORST MOVIE.

Awesomest Character of the Year

Hit-Girl

Don't think anyone will disagree with this choice. I loved Kick-Ass, but Hit Girl made that movie. Thanks to Chloe Mortez being one hell of a phenomenal young actress, she gave us one of the coolest characters of the year. Hell, I saw 20 year old women dressed up in Hit Girl outfits for Halloween. She's obviously made quite the impact. If a sequel ever does get filmed, I think it's safe to say that her presence was a integral part of getting it off the ground.

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

That concludes Day 2 of the Good and Bad of 2010. Come back tomorrow for the first eight of the nine best/favorite movies of 2010. Cheers!