12 Tracks to Live For

The blogosphere be a buzzin' with the new Desert Island CD blog-a-thon conceived by Castor over at Anomalous Material. Click the link for a list of all the participants. The rule is simple: choose twelve tracks - the only twelve songs you will have on this deserted island for who knows how long so make sure you really, really love 'em - and they have to come from a movie soundtrack.

Initially this sounded like a perfectly simple thing to do, but after careful consideration, holy potatoes, Batman, this was bloody difficult! There were a dozen and a half tracks from television shows I would add instantaneously (mostly coming from the great Bear McCreary and Michael Giacchino). Plus, it got a bit more complicated without my iTunes directory, which is stuffed on my home computer two hours away. But I shall make do! One last thing, I took considerable effort to make sure I selected tracks that don't qualify simply as ones I love, but also will be tracks I would find myself willing and happy to listen to repeatedly and (even more) repeatedly.

Can ya dig it?

[Sorry, just saw Black Dynamite for the first time recently, have sort been killing that phrase over a lot]

#1. "The Battle", Hans Zimmer, Gladiator

Swords and blood = fun! Add in a lot of Hans Zimmer, and what you have then is pretty much sheer awesomeness, as is the case here. The brutality and epic nature of the battle is beautifully and perfectly conveyed here as the track feels like it brings you right into the heart of the battle, right there with Maximus and his fellow gladiators fighting for their very lives. And in between all the sword interplay, "The Battle" also is pretty much just sublime. I'm sure not many will agree, but halfway through this track, there is just some truly outstanding, brilliant cues, unequaled in the last decade. Chilling, magnificent stuff.

#2. "Flow Like Water", James Newton Howard, The Last Airbender

Say what you will about M. Night's rubbish adaptation of the Nickelodeon television series, but the fact James Newton Howard was the movie's saving grace is irrefutable. If anyone needs convincing, listen to this track here, marvelous in its simplicity, beautiful in its power. Elegant and simply breathtaking, "Flower Like Water" is a track that cannot be heard enough. Beautiful, beautiful work and without a doubt would be on my CD.

#3. "Battle of the Heroes", John Williams, Episode III

It all comes down to this. Friends - nay, scratch that, brothers - engaged in a duel where each stroke of their saber is a emotional punch, a tearing and ripping apart of a bond years in the making, a trust and camaraderie unmatched in the Galaxy. As for the fate of the Galaxy and the star systems, that fight is being played out in the Senate Arena with Darth Sidious and Master Yoda representing the light and the dark: the more down and dirty duel taking place on Mustafar is something far more personal, far more gritty and raw, and John Williams perfectly and beautifully epitomizes this with "Battle of the Heroes", a rousing, action-y, and sad track if ever I heard one. Beautiful work.

#4. "Jai Ho", A.R. Rahman, Slumdog Millionaire

Great movie, great song. On the way to Mankato and back, the girlfriend and I blast this in the car, especially during times either one of us is getting a bit drowsy (it happens). A.R. Rahman is the man when it comes to making irresistibly addicting music, as is the case here and, to an extent, 127 Hours. Most definitely a track I couldn't see myself leaving home without.

#5. "Neodammerung", Don Davis, The Matrix Revolutions

Similar to The Last Airbender, a lot of dislike has been placed on The Matrix sequels, which I feel to be inappropriately so, but one thing is clear: Don Davis was most definitely up for the challenge with Reloaded and Revolutions, offering scores that are nothing short of extraordinary. The first Matrix set the groundwork for Davis' musical template: the sequels, and especially Revolutions, take what has already been established, runs with it tenfold, and creates something new and just as magical. "Neodammerung" feels Apocalyptic, where everything in the universe hinges on the outcome of Neo fighting Agent Smith, and there is a genuine uncertainty that our protagonist will win. Complimented by Latin chants, "Neodammerung" is electrifying, eerie, and one of the best pieces of music in the last decade.

#7. "Roar!", Michael Giacchino, Cloverfield

The first of two Giacchino tracks on my playlist; if I can't have LOST, I'm sure as hell going to include "Roar!" and the next track below. "Roar!" is a beautiful piece -and yep, I know I use 'beautiful' a lot, apologies - that sums up monster movies, pays homage to the classics of the 50's, and is bloody freaky as hell and amazing all at the same time. The iTunes track I downloaded awhile back is 12 mins., but the above upload doesn't seem to be missing anything vital: all the ingredients of Giacchino's magnificent score is right there. So why would I want to have this gorgeous thing on my CD? Quite simply, it's beautiful, and it's a reminder of a genre I deeply, personally love.

#8. "Labor of Love", Michael Giacchino, Star Trek

One word: beautiful. Yep, used it again. But frankly, there is no other way to describe "Labor of Love", one of the most brilliant compositions in recent memory. I defy any human being not to get somehow emotionally invested in the death and birth happening here. This track cements Giacchino as The Master, a man we can look forward to deliver brilliant scores time after time like the equally fantastic John Williams. When I want to think about beauty, when I want to think about love, "Labor of Love" is that track.

#9. "Introduce a Little Anarchy", James Newton Howard/Hans Zimmer, The Dark Knight

I've seen "Molossus" from Batman Begins on many lists, and I applaud you all for including that. Hoping to do something a little bit differently, I chose this track near the climax of The Dark Knight, and it's a track that never fails to send chills up my spine, excite me, and get me super amped, not to forget mentioning instantly making me want to throw the DVD in.

#10. "All Along the Watchtower", Jimi Hendrix, Watchmen

Originally heard "All Along the Watchtower" in the season three finale of Battlestar Galactica, and lo and behold, not too long after it's used in Zack Snyder's awesome Watchmen movie, and achieving as awesome a effect! Upbeat, fun, and infectious to my mood, great song to have during a long time of loneliness and frustration.

#11. "Brand New Day", Joss Whedon, Dr. Horrible's Sing-Along Blog

It's mostly a movie, innit? Every morning without any sort of rescue on the horizon, I could just throw on "Brand New Day" and be happy without contemplation of going utterly mad or gleefully running into the jaws of a shark...or Smoke Monster. Great music, great lyrics, and a reminder of the awesome man I left behind: Joss Whedon. Or, er, um, yea, that one guy...Neil Patrick Harris, 'course.



#12. "Don't Let Me Be Misunderstood", Santa Esmeralda, Kill Bill Vol. 1

The Bride vs. O-Ren. It's snowing. The two opponents look at each other from a small distance. They're waiting to strike. The moment arrives. Quickly, like a flash, they engage in battle, and just as instantaneously, everything is still as The Bride looks to the sky victorious, and O-Ren's last moments brings realization as to the true maker of The Bride's blade. That alone could be a pretty nifty scene, but add in "Don't Let Me Be Misunderstood", one of the damnest most addicting and replay-y songs out there, and you got yourself dynamite awesomeness. On the island, I'd play this while practicing my kung fu or something, just to keep me in shape and pumped up in case a ship comes by and decides to rescue me slow-motion like.


Well, this was fun, mates! Again, check out the link above for a full coverage list of bloggers who participated, and I encourage y'all to try it out, as well. Cheers!

20 Questions Meme: Star Wars Edition

While ignoring homework and surfing through Cultural Compulsive Disorder, I came across a cool meme from early December 2010. Not one to let a STAR WARS questionnaire go unturned, here are my answers. Obviously, I encourage any STAR WARS fans to do this as well. Considering that I'm more of a Prequel Trilogy guy myself, a statement I know will probably have me exiled as a friend to many (even my coworkers aren't too pleased), some of my answers may not be to many peoples liking.

01. Who is your favorite character from the original trilogy?

Luke Skywalker, particularly in Empire Strikes Back. In New Hope, he still had that whole naive boy thing going on, full of wonder and awe. Which is, y'know, understandable, it being the first time he ever traveled in space and, for that matter, got in a super cool spacefight. In Empire, I really dug the more layered, complex, and somewhat rash individual Luke became. Return made him a badass champion of good, and his conviction is admirable. I'm basing my answer off what character I immediately get engulfed in when the scene shifts, and Luke it is.

02. How would you rank the original trilogy, in order from favorite to least favorite?

A New Hope
Empire Strikes Back
Return of the Jedi

03. What are two of your favorite action scenes from the original trilogy?

- ROTJ: On Tatooine, Luke initiates his plan to save Han Solo and Leia Organa as he gives the signal to R2 who then blasts Luke's lightsaber into the air for him to catch, save himself from being Sarlac soup, and then getting down to business with the day saving.

- TESB: Luke and Darth Vader square off at Cloud City, eventually resulting in a severed hand for poor ol' Luke from the roboticy man who then reveals that he is, in fact, Luke's father. Tough day for the Jedi-in-training.

04. What do you consider the most emotional scene from the original trilogy?

- ROTJ: In the final moments of the Darth vs. Luke battle in the dark, Vader threatens that if Luke won't join the dark side, maybe "she [Leia] will." In a burst of defiance, Luke screams "NO!" and spares with his father for the last time, letting go of all reason and intent on one thing: not allowing Vader to win. It's a chilling scene with a great yell on Mark Hamill's part, and John Williams' stellar music doesn't hurt a bit.

05. Do you have any favorite toys or collectibles based off the original trilogy?

My favorite collectible is one of those $100 lightsabers from Master Replica, this specific item a replica of the ROTJ green Luke Skywalker lightsaber. Oh, so beautiful.

06. Which character had the most unsatisfying death in the original trilogy?

Common argument, but Boba Fett, especially after watching the Prequel Trilogy. Here's a character that received massive fan loving to the point Lucas back-tracked and incorporated the Fett clan in the saga's history, and still, several "special editions" later, gets a major let down of a death. Lame. However, I have heard that there's a comic book series that features Fett alive inside the Sarlac pit shooting his way out. That sounds brilliant.

07. What’s your favorite ship or vehicle from the original trilogy?

Duh! The Millennium Falcon! I absolutely love the design of the ship, and it's presentation in the films does full justice to its awesomeness. My only regret when it comes to Star Wars collectibles is that I don't have a Millennium Falcon hanging around anywhere, or even displayed on my desk or whatnot. Hell, I have a bloody U.S.S. Enterprise, why on earth don't I have a Millennium Falcon? Only reason I can think of is price range. Anywho, yep - Falcon: awesomeness.

08. Who is your favorite character from the prequel trilogy?

From a awesome standpoint, I'd say Qui-Gon Jinn, but if I were to pick a character I think most about and contemplate frequently, I'd go with Anakin Skywalker. With Qui-Gon, we got Liam Neeson, and how can anyone on this earth not love Liam Neeson? But favorite character is Anakin, all the way. When one tosses aside the horrendous acting on Hayden's part or the stilted dialogue he was forced to regurgitate, Anakin becomes one hell of a fascinating - and really freakin' cool - character. Here's a dude who is one hell of a master swordsman, and has an connection to the Force that no other Jedi master can boast. Spiffy outfit, awesome lightsaber skills, and a

09. How would you rank the prequel trilogy, in order from favorite to least favorite?

Revenge of the Sith
The Phantom Menace
Attack of the Clones

10. What are two of your favorite action scenes from the prequel trilogy?

(1) The Anakin vs. Obi-Wan duel on Mustafar. It was the one thing I was looking forward to more than any other character moment or plot element in the Prequel Trilogy. Pure awesomeness. If you, too, are a fan of this scene and want to read more, I direct you to my Scenes I Like A Lot entry about the Mustafar duel. More proof I need a life.

(2) Darth Maul vs. Obi-Wan Kenobi vs. Qui-Gon Jinn on Naboo. Epic, awesome, riveting.

11. What do you consider the most emotional scene from the prequel trilogy?

I'm a bit of a softy for the speech Obi-Wan gives Anakin after slicing off the Chosen One's remaining limbs. And when Anakin simply yells back, "I hate you!" Man, chills up my spine, it does. Secondly, I would say the execution of Order 66; that was some pretty heavy stuff, if I dare say so myself.

12. Do you have any favorite toys or collectibles based off the prequel trilogy?

Oh, do I ever! It helps being alive and young when the movies are released, it means you're able to purchase more merchandise. In this case, I have a super awesome Anakin Skywalker lightsaber from Master Replicas - one of my most prized possessions. I have a vast assortment of action figures from Episode I and Episode II, in addition to behind-the-scenes books, magazines, trading cards, soundtracks, and even puzzles (more for my mom than myself). Although nothing giant or nearly as complete as true collectors, I'm quite proud of my Prequel Trilogy collection. Plus, it's just awesome to gawk at and think about the fun days walking through Toys 'R Us and seeing the giganto display they had up. Great memories come with those action figures and memorabilia.

13. Which character had the most unsatisfying death in the prequel trilogy?

Hmmm...Darth Maul, I rather think. Here's this character that had been hyped up like crazy before the film's summer 1999 release to the point one would think Maul would be all over the film. But nah, Darth Maul shows up here or there, very sporadically and with very little screentime, and then shows up for the obligatory lightsaber duel. Not saying the duel wasn't sweet - it oh so completely was - but how Darth Maul was eventually defeated with such ease after appearing seemingly impenetrable the last seven minutes of fight before it...well, just didn't really flow well with me. Plus, Maul had ample opportunity to slice himself some Obi-Wan when Obi flew up from the pit and Forced Qui-Gon's saber to his hand. Just sayin'.

14. What’s your favorite ship or vehicle from the prequel trilogy?

The Podracers from Episode I are definitely very, very cool. However, for some reason or another, Padme's ship from Episode I and Episode II is my favorite. Instead of a manly way of saying, 'Oh, it's so awesome cos it has a 10,056 megaton wat petrolitate trolium helium class 390B gaxtroid', I will outright say it's my favorite ship because it's a cool, simple design that just looks all shiny and appropriate for the SW universe. So...there.

15. If you could get a personalized Star Wars themed license plate for your car, what would it say?

Sith Rulz
Chosen 1

16. Do you have a favorite Star Wars based video game?

Truth be told, I don't play video games, so I can't very well comment on this.

17. Have you read any of the Star Wars books (expanded universe), and if so, what are your favorites?

Sorta. Mostly my experience is with the novelizations of the Prequel Trilogy, but a few eons ago I did read the Jude Watson Jedi Apprentice and The Last of the Jedi young adult series. I did try reading some Expanded Universe of the more adult fare, but frankly, I got more irritated trying to figure out how to pronounce some alien name than actually enjoying the book, so I gave up and didn't bother finishing them, or at least get engaged. Oh! I did read Labyrinth of Evil, the tie-in prequel to Revenge of the Sith, mostly because anything that had a dark Anakin edging closer to the Dark Side is very, very interesting...

18. Are you a fan of the “Clone Wars” cartoon series?

Actually, yes. At the time of this writing, I've only had the pleasure of watching season one, none of two or three...yet. I like the animation style, and I like some of the more epic stories that are being told. And from the sounds of it concerning season three, the writers are delving more into the dark side of Anakin, and that is quite appealing to me, so it seems like I'm going to quite like the show in the subsequent seasons. If there is one complaint I have about it - one I'm sure many other fans share - is this use of Asoka, who comes out of nowhere and doesn't really serve much point in the overall story than appeal to the youngsters watching the show. And I'm also a bit on the fence about the newsreel 'updates' in the opening minute. I get its use in the context of the show, but I'm just not a huge fan of it.

19. What (or who) do you hope to see in upcoming Star Wars TV series?

I don't really care about what characters we get, all I really want to see is a frank portrayal of the darkness permeating over the Galaxy with the newly formed Empire. I want to see the ramifications of Order 66, of the Jedi allegedly turning against the Galaxy and their need to be stopped. I want that crowd reaction, and I want to see a Jedi here or there (if not Obi-Wan, fine) that survived Order 66 and whatever methods they're utilizing to stay alive. In the end, I just want a honest and realistic portrayal of the post-Revenge world and not a hokey, sorry to say, Clone Wars-type atmosphere.

20. If you were stranded on a desert island with one Star Wars character, who would you want it to be and why?

Haha! Of course the concluding question would be something like this. Well, frankly, that's a tough one, but in the end, I'd go with Obi-Wan Kenobi, preferably the still alive and quite corporeal version. Obi-Wan would have the right sense to knock calmness and some thinking into my noggin', and together, we would formulate a clever way to either survive on the island or, at the very least, become one with the Force and meditate a whole bunch and be all super powerful and in-tuned with nature. Can't be more awesome than that, yes? Plus, I get to use a lightsaber to chop down some trees. Fun, yea? Yes! Okay, lame, I know. But at least with Obi-Wan, there's a very real chance of survival and intelligent thinking that may just save our collective arses.

Monsters

Monsters

Starring Scott McNairy, Whitney Able
Written & directed by Gareth Edwards
Release: 29 October 2010
Magnet Releasing, 94 mins., Rated PG-13

Plot: Andrew is tasked to bring injured Samantha back to the States by her billionaire father, but it becomes a far more difficult objective to achieve when they have to walk through the Infected Zone, where they could be attacked by big ol' aliens at any second. Great first date locale, no?

The thing is, with a movie called MONSTERS, I really expect monsters to show up and not extraterrestrial aliens that have now become, more or less, terrestrial. Sure, the definition of what a monster is or is not is a bit flaky, but my interpretation of a good ol’ monster is some beast being woken up from the Arctic, or a man-made creation of a fifty-meter tall dinosaur-hybrid thingy, or even the bloody Blob. So, no, I’m not particularly inclined to say the ‘monsters’ in MONSTERS are, in fact, monsters, but I’ll go along with the title for now.

Luckily Gareth Edwards will be tackling a REAL monster for a 2012 release…

That said, MONSTERS is a terrific movie. Director Gareth Edwards gives us what must be the most gorgeous looking monster film yet, with the shots of debris or the sky or the digital monsters looking absolutely breathtaking. I won’t give away the ending scene at the gas station, but it works so well because of the cinematography, and, furthermore, the brilliant use of silence and careful editing. On the technical front of things, with such a limited budget, MONSTERS has the look and feel of a bigger budgeted flick, although that isn’t to say the movie boasts plenty of alien scenes or digital effects.

Negative. MONSTERS is a movie about two people, plain and simple; two people who end up liking each other and lots and lots of walking. I’m very thankful to Edwards for recognizing the ncessity of the human element, or developing that and making them dimensional, complex, and very real individuals. However, I do feel a bit cheated in the lack of monster candy. Monster action, I understand there are limitations to, but I was looking forward to some marvelous shots of the aliens, which largely stay in shadow or given quick glimpses of. However, when we do get to see them, they do, indeed, look marvelous. Case in point: the gas station scene. Just wowzers.

Not to be overlooked by the spiffy SPFX and gorgeous cinematography, actors Scoot McNairy and Whitney Able are marvelous in their respective roles of Andrew and Samantha. When two actors are thrown in a situation where they’re supposed to sell a giant creature right in front of them and a blossoming romance in about forty-eight hours, it’s a bit of a leap, one McNairy and Able rise to and kick its ass. The monster fan in me was a tad irritated that – in all seriousness – there are no monsters to speak of until the 55 minute mark, but if it wasn’t for that part of me begging for some monster action, I would be completely and utterly captivated by the interactions of Andrew and Samantha. They steal their scenes, and sell the whole package: the monsters, the exhaustion of walking across the Infected Zone, and the attraction.

All in all, MONSTERS is quite the accomplishment and I can’t recommend it enough. Yes, I’m disappointed that the titular monsters don’t play a greater physical presence in the movie (although their impact is felt through every frame, which is also quite the accomplishment, Mr. Edwards), but this flick is just so damn well made and expertly crafted and executed and enjoyable I can’t hold it against them. A great film for a rising talent, and a riveting ride.

I Am Number Four

I Am Number Four

Starring Alex Pettyfer, Timothy Olyphant, Dianna Agron, Kevin Durand, Teresa Palmer, Callan McAuliffe, Jake Abel
Written by Alfred Gough, Miles Millar, Marti Noxon
Based on the novel "I Am Number Four" by Pittacus Lore
Directed by D.J. Caruso
Release: 18 February 2011
DreamWorks, 114 mins., Rated PG-13

It’s no shocker why Alfred Gough and Miles Miller were recruited to pen this adaptation of another teen sci-fi drama, after all, this movie could be mistaken for a SMALLVILLE episode from the earlier years, a show telling the tale of Superman in high school being forced to control his “abilities” or “gifts”. Instead of recognizing they’re working with a honest-to-God movie, where the possibilities are nearly limitless, Miller and Gough literally regurgitate characters, plots, subplots, scenes, and dialogue from not only their own television series, but countless other superior books and movies and shows. As for the presence of Marti Noxon, she of BUFFY fame, I can only imagine she was the voice of reason attempting to add in clever dialogue here or there with little success; or perhaps it was she that saved the movie from completely sucking.

Yes, indeed, even with my huge lack of love for I AM NUMBER FOUR, it is surprisingly not entirely the worst conceivable movie. But I won’t get into that right this second. Instead, I’m going a different route. It dawned on me today the similarities between I AM NUMBER FOUR and the movie adaptation of ERAGON, and thought I would share a few:

Both Eragon and I Am Number Four, the movies, originate from books that have the minimalist of originality in them, just enough to save themselves from being prosecuted for blatantly stealing plot, scenes, and even dialogue.

Both Eragon and I Am Number Four feature a brilliant older actor (Jeremy Irons, Timothy Olyphant) as the younger characters’ master or tutor or protector or a combination of all of ‘em.

Both Eragon and I Am Number Four have youngish lead actors, Edward Speelers and Alex Pettyfer, who have an inability to emote or display any facial expression save one stern glare.

Both Edward Speelers and Alex Pettyfer are miscast and actually end up feeling like caricatures.

Both Eragon and I Am Number Four boast directors that seem more comfortable with the special effects, big explody action scenes than any potential dramatic moment between characters.

Both Eragon and I Am Number Four lack any emotional connection from the viewer to what’s happening onscreen, instead becoming a feature length eye-rolling fest of ‘C’mon! Really, movie, really? I’ve seen and heard this a hundred times before!’

Yes, Alex PrettyFace isn’t Tom Welling, who can take the atrocious dialogue and make it work. Diana Agron, gorgeous as she may be, nonetheless plays the cliched girl who used to be popular but now spends her time looking at the beauty of the world, which must obviously attract PrettyFace.

The real goldmine of the movie is the super awesome, CGI-heavy battle in the end at your standard high school, as Number 6 blasts up some bad alien guys and Number 4 does stuff with his blue hand light thingies. Lots and lots of explosions, bat/dog hybrid creatures that are far too bloody awesome for words. It’s pretty much just a really super awesome battle, and will definitely keep your interest…as opposed to the hour and a half before it.

I know, I probably shouldn’t be raging on I AM NUMBER FOUR as much. After all, it’s not the worst thing in the entire universe. So what if the characters aren’t really characters but placeholders and ghosts of characters you’ve seen a thousand times before? So what if there is no substantial emotional connection to the heroes, the jerks, or the bad guys, who have no dimension other than ‘we destroy’? So what if the movie really is a bloated television pilot that is, more or less, a waste of our time and Hollywood’s money?

At least it ain’t as bad as TWILIGHT. Now there’s a commendation, innit?

Rango

Rango

Starring the voices of Johnny Depp, Isla Fisher, Abigail Breslin, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, Timothy Olyphant
Written by John Logan
Story by Gore Verbinski, John Logan, James Byrd
Directed by Gore Verbinski
Release: 4 March 2011
GK Films, 107 mins., Rated PG

Plot: Pet Chameleon Rango (Depp) is on his own in desert and comes across the town Dirt and becomes the new Sheriff.

There’s a couple thousand RANGO reviews on the net already, so I’ll keep this brief and to the point. In the past couple years, audiences have been wowed with some truly impressive and real-life like animation, mostly from Pixar, in the form of artistic juggernauts WALL-E and TOY STORY 3. They even have the audacity to boast superb scripts that mix comedy and drama perfectly, creating a movie that transcends just being an animated flick and instead becomes a instantly memorable and tug-at-your-heart experience that you’ll revisit and own with love.

Enter RANGO. Sorry WALL-E and TOY STORY 3, but you have been surpassed in the animated department. I know, in this day ‘n age, how is it possible for the animated field of motion pictures to improve and improve? Digital effects, I understand, but animated movies? Inconceivable!, to quote a line of dialogue that will be just as clever and brilliant after the earth is destroyed by Cylons. Yet RANGO looks and feels like something fresh, displaying details in skin and terrain and earthly elements like dust that have never been so…pristine…or perfect.

And when you have animation as exquisite as we have here and add in some super ingenious direction by Gore Verbinski and hilarious and perfect acting by the likes of Johnny Depp, Isla Fisher, Bill Nighy, and Alfred Molina – well, by Gods, what you have then is cinematic gold. RANGO opens with some brilliant camerawork, and it doesn’t let up till the credits roll. Rango is thrown through the wind, landing on vehicles here and there and everywhere and eventually landing in the dirt with a loud thud, and this is presented to us with some real creative cinematography as the camera doesn’t seem to let up. Not too far on from there, we have Rango running for his life from an hawk, and he finds refuge in a glass bottle; the camera zooms from inside the bottle to outside and inside again, and as a testament to the animation and clever camera maneuvering the shot comes across without any sort of imperfections. When Rango crosses into genres – and it does, specifically the western, most obviously – the camera adjusts itself as so. In fact, although the movie could be considered a love letter to westerns, RANGO pays homage and embraces the styles of many genres all the while staying its own unique creation.

Oh! And let me not forget mentioning the absolutely BRILLIANT cameo from “The Man with No Name”, brought to life in some superb animation and voice work by Timothy Olyphant (only appropriate, after Olyphant’s performance as Raylan Givens in JUSTIFIED). An completely unexpected, hilarious, and fantastically done cameo in the same vain as Bill Murray in ZOMBIELAND.

As expected, Depp, Nighy, Fisher, Molina, Olyphant, and all the voice actors are top notch, and, as also expected, Depp’s work as Rango should not be undervalued. Marvelous, marvelous work, and definitely makes up for the redundant Mad Hatter in Burton’s ALICE IN WONDERLAND. The characters are continually interesting, each with their own particular ‘quirks’ and identities, making the cast – not only Rango himself but the whole lot – just as important and memorable to the story and, furthermore, success of the film.

I could babble on about RANGO, but I think it would end up just being mush. Point is: the animation work in RANGO is motherfrakking spectacular. The voice work and script are clever and perfect. Gore Verbinski proves he’s a master of cinematography not only with live action but in the animation scene, as well. No matter the debate about whether RANGO’s for the kids or not for the kids, RANGO is a perfect movie, and a beautiful love letter to film-making. Plus, it’s helluva fun ride.

Last note: anyone else feel chills with the night shot of the cacti as it looks towards the camera? Freaky, man, just freaky.

The Watcher: 03/11/11 - 03/17/11

S01E09 - "I Want You Back (From the Dead)" (14 March 2011) - A interesting deviation from the original, now we get to explore a child vampire and the consequences of that. All in all, however, this episode is a far cry from the goodness of the last few eps, mainly because I don't find myself all that moved by the kid/Aidan storyline, nor did I find Josh and Nora all that interesting this time around. Sally getting her ghostly smooch on was very interesting, on the other hand. It would be quite cool to see if the writers are going to explore to the fullest extent the abilities and limitations of ghosts, because I'm pretty sure I haven't seen ghost on ghost action before (or at least lately). Anyway, a solid episode that will hopefully propel us towards some cool conflicts in the final batch. However, one nitpick: did they really have to use "Mad World" in nearly every other scene? Over and over and over again - it got to a point where it lost any sort of significance and just became a eye-rolling cue. Overused, but undoubtedly their heart was in the right place. Score: 7.5/10

S04E18 - "Chuck Vs. the A-Team" (14 March 2011) - There has been so much emphasis on Chuck and Sarah the last season and a half, it's refreshing whenever Casey becomes an integral part of the action. It's his lack of screentime and presence that ultimately brings us to this mostly enjoyable episode where Casey is front and center. My only gripe is that the Chuck/Sarah/Casey combo has never really felt like A-Team material - as spies, mind you - so having Chuck and Sarah under the delusion that they are, in fact, that good, just irked me wrong. It was also fun having the Gretas from earlier this season in the episode, and it was especially cool to see why and how Chuck can/is still be an important asset to the CIA. I'm interested to see where Dad's computer will fit into the overall arc, and happy that it didn't serve simply as an function for Chuck to regain his abilities after losing 'em for the third time. Score: 8.2/10

S03E17 - "Os" (10 March 2011) - I frankly don't have much to say about "Os" other than the science mumbo jumbo didn't really catch my interest this time around, and although the whole Soul Magnets business conceived by William Bell is cool in its own right, having Bell take over Olivia's consciousness isn't exactly my cup of tea. As for Anna Torv's impersonation of Nimoy's legendary voice, she sells that it is William Bell, but ultimately, I can't find myself taking her too seriously, as it does sound sorta funny. One last note: I did enjoy Peter being forthcoming about everything: the Shapeshifters that he's killed and all the research he's been putting into the Doomsday Device. Now, that's all fine and dandy, but I'm ready for some more nuggets of mythology about the First People. Score: 7.5/10

S02E06 - "Blaze of Glory" (16 March 2011) - Anyone else feel this episode was far too short? It was as if it had just started and already we were nearing the end. Perhaps that's the sign of an enjoyable episode, or the need to have more material. "Blaze of Glory" opened with a wonderful interrogation of sorts with Boyd and Ava concerning the events of the last episode, as Boyd corrects the Agents on their word choice and rudeness. Great writing and acting for all involved. And then Winona makes the decision to stealio herself $100 from the evidence locker, and everything just sort of escalates from there - and from the previews of next week, the shitith has not even begun to hit thy fan. Her bad decision making aside, I'm a Winona/Raylan shipper instead of Ava, so it was very pleasant to see affection between those two, and I loved and relished every scene with 'em. As for the B story of the week where the Marshals have to pursue themselves some bad guy, the general plot wasn't all around interesting but led us to a hilariously written and acted 'chase' scene with Art and Frank that is bound to go down in 'Best Of JUSTIFIED' lists. A very enjoyable episode. Score: 9.1/10

S01E09 - "Tina" (14 March 2011) - Quite glad Tina gets a whole episode dedicated to her, as she did seem like the odd man out (although next week, in the season finale, we concentrate on a character that has hardly had two scenes the whole series). "Tina" is a fantastic episode. The writing is top notch, full of humor (e.g., Tina pulling the fire alarm to postpone handing out tests, a idea taken from Chris) and drama (e.g., Tina making the decision to split ties with Chris), perfectly balancing the two and coming off as a true story, not contrived or forced or fake. "Tina" is definitely one of the more enjoyable episodes, and it's great to see many of these storylines from episodes past either come together or continue to evolve. Tina was the adult living in a teenage world, and she wasn't able to grow up herself. With this episode, she confronts her lack of adultiness and makes the choice to improve herself, to be a full fledged adult (something I'm not exactly looking forward to, myself). One more episode, and with all the pitiful ratings, I'm thinking it might be the last, which would be extremely unfortunate. Shit shows like JERSEY SHORE gets mammoth ratings and accolades from dumb teens, but an intelligent show such as this will most likely get the axe? Bloody hell. Score: 10/10

S02E12 - "Twin Destinies" (14 March 2011) - Last week was a boring episode, this week we get a riveting episode with some interesting twists which include a death, Rush possibly being an self-serving asshole once again, and some real drama (and pretty SPFX). For the hundredth time in the world of STARGATE, time travel is once again used and a character - this time Rush - comes back to tell listening ears what exactly went wrong so they can remedy it this time. The nifty thing about this time traveling story, and the time traveling installment last season appropriately titled "Time", is that writer/co-creator Brad Wright goes a different direction with the science fiction cliche: there can be real consequences and a whole new range of story possibilities that can come out of this. Sure, the Destiny from Original Timeline appears to be enveloped in a sun, with Rush in the control panel, but if we know anything about STARGATE, it's that they'll be back and it will be important. Really, this was just a splendid episode with a clever script and some very nice cinematography and lighting that showed off the gorgeous ship just right. And Telford died! At least Telford from one of the realities. That was pretty cool. Also, just a sort of sidestep comment: I loved the bit about McKay back at Stargate Command, and I also dug all the accolades Eli got, although they did seem to come out of nowhere. Looking forward to wherever this plot goes in the final seven episodes. Score: 9.1/10

S02E10 - "Mother's Day" (15 March 2011) - I hate to say it, but I actually quite liked the episode, and is definitely the best episode of V the show has ever produced. Hell, it quite nearly makes me hope there is a season three so I can see how this evolves, and that I can finally, finally see the mono e mono confrontation between Erica and Anna. Surprisingly, what we got here in "Mother's Day" I didn't predict. I was hoping for that fight between the two mothers, but that didn't happen. Instead, we got some goods and some meh's. First, the goods: I absolutely loved seeing Tyler get killed; hope this sticks, though I know better. I also loved Ryan getting his neck snapped by his daughter; although I'm pretty sure the writers will make up something about V DNA that enables their necks to reattach or something. I loved Erica & Co. plotting Anna's death at the hands of Lisa, and the near perfect execution of that plan. I liked that there is a branch of government that wasn't sold on the V's promise of peace and have instead been bidding their time to strike, and that Jay Karnes (the SHIELD guy) was actually there to scope out Erica for this project instead of getting her fired. I loved that everything and everyone around Erica seemed to just collapse or die around her, and that she is/was reaching her breaking point. I also loved Lisa tossed down into her grandmother's dungeon and being forced to watch Tyler get it on with Anna's new and improved daughter and subsequently watch as it kills him; not only was it superbly directed and conceived, but will offer some marvelous plot points and ideas for a season three. As for the meh: Anna's mom has been foreshadowed as a important part of the story all season - not to mention getting the original V actress to sign up for this shenanigans - only to be impaled and left for dead here without any real impact? I do hope the writers have a bigger plan for her death instead of the shock value, because that would be one of the ultimate stupid ideas they've had. The season ending with Anna and Ryan's daughter united in blissing all of humanity is a cool idea, indeed, and the scene is given some eerie chills by the white glowy light and Morena Baccarin's marvelously wicked and crazed performance, but I would have very much liked that Anna vs. Erica fight. Everything up to this point sort of demanded it. And the big cliffhanger: Anna and Ryan's kid bliss everyone? Well, yippie freakin' do! Sure, I get the implications of it - everyone on earth ready and willing to do anything Anna commands them to do - but the overall feeling of 'Holy shit, what the frak just happened?' wasn't really there. Maybe if "Mother's Day" was episode nine and we were given the Erica vs. Anna fight here? Sorry, I know I bring it up a lot, but I really freakin' wanted it!!! As a season finale, it accomplishes its job splendidly; as a series finale, it works and doesn't work; enough is wrapped up or left at a satisfying enough place that if it is the Last Episode, I'm not about to write an very angry letter to ABC or make a blog post about the unfairness of it all. In the end, "Mother's Day" definitely was far better than I expected, and for that, I give thee kudos. Score: 8.9/10

With declining ratings and being a generally badly made television series, the likelihood is that there ain't going to be no season three of V. On the other hand, ABC apparently has a lot of spots to fill for Fall 2011, so there just might be the slimmest of chances. Frankly, I'm torn. This series is a week-by-week example of unfocused and utterly lazy writing (and furthermore, acting), a symbol of a show needing some sort of huge overhaul in its creative juices or the need to just give up and become a wacky 40-mins. of sci-fi cheese. I could forgive and dig the show if it wanted to be cheese, but instead, it's fairly obvious that they meant to hit allegories and tackle heavy subjects each episode, such as the subplot concerning the soul and the overarching debate of human emotion....

...alright, alright, I'll stop with the bashing...

Point is, I think I will be a bit sad not see V continued. At the very least, I would hope the writers and producers come together and film a segment for the DVD in which they reveal all their plans - if they truly have any - for the rest of the series. Just lay it all out. If this truly is the end, well, I can deal with that just fine. It was an experience with very few ups and a megaton of downs, and it was always a pleasuring bitching about its imperfections or commenting on the good when it showed itself. The truth of the matter is that V could have been one hell of an outstanding series, but it just wasn't in the cards, evident by the halfway point all the way back in season one. If this is the last I write about V - and if it does get canceled I just might end up writing a eulogy here - I feel inclined to give thanks to Morena Baccarin and Laura Vandervoot, the two ladies who gave what I feel where the best performances of any actor on V week after week, and "Mother's Day" is definitely a strong case for that statement. V...well, it's been...interesting.

Simply Script: No. 6

HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY

Written by Jon Hurwitz & Hayden Schlossberg

Poem by David Feinberg

KUMAR

I’m sure that I will always be
A lonely number like root three

The three is all that’s good and right,
Why must my three keep out of sight
Beneath the vicious square root sign,
I wish instead I were a nine

For nine could thwart this evil trick,
with just some quick arithmetic

I know I’ll never see the sun, as 1.7321
Such is my reality, a sad irrationality

When hark! What is this I see,
Another square root of a three

As quietly co-waltzing by,
Together now we multiply
To form a number we prefer,
Rejoicing as an integer

We break free from our mortal bonds
With the wave of magic wands

Our square root signs become unglued
Your love for me has been renewed

Tuesday Cap - Vol. 19

Title: Metropolis

Notes: Full disclosure: I 'watched' Metropolis in Film History class and ended up nodding off through most of the film. However, I did wake up in time to experience the destruction of the superbly detailed city, and especially this super wicked dance that enthralls the masses. Personally, I find it more utterly creepy and frightening than seductive, but it was the 20's after all...those were some interesting times. The remainder of the movie was just crazy interesting, and I do plan on checking this flick out in a full conscious state sometime in the near-like future; I blame my sleepiness on the 8PM curtain call [I'm usually a noon-riser]. Although bits of the movie - from what I remember - did drag and seemed to go nowhere, I won't discount some of the very beautiful cinematography the movie boasts, or some of the chilling composites (the eyes; the tomb thingy). I understand why Metropolis is high on the list of important movies of the past, cos it most definitely includes some stunning visual accomplishments. But more than anything, that freaky dance scene will be stuck in my head for years to come.

Discuss: Anything. The floor is yours. Just talk about your thoughts concerning Lang's Metropolis, or whether or not you've seen the 'restored' version from 2010, etc.?

Tao of McKay: Vol. 1

[This feature is a compilation of dialogue and scenes from the great Dr. Meredith Rodney McKay of Stargate: SG-1 and Stargate: Atlantis fame]

"I'm Dr. Rodney McKay, alright? Difficult takes a few seconds; impossible, a few minutes."

MMAM - Vol. 29

I'm not particularly a fan of the MISSION: IMPOSSIBLE franchise - third one the sole exception - but Hans Zimmer definitely delivered some exquisite music in the second film that deserves recognition and applaud right here, right now. Thus, I'm happy to promote "Injection" from MISSION: IMPOSSIBLE II, perhaps one of Zimmer's absolute best works in his career, and that's saying something of high magnitude, given how great his material typically is. Without further ado, "Injection":