Reviews of the top geek movies, tv, and books in the industry.
[I wrote the first part of my Destiny review after having played through (and been disappointed by) the abrupt and surprising lack of content in Vanilla Destiny. This piece covers the completed game, about two years after I wrote my conflicted and irritated original review.]
As a schoolboy in Ireland I was regularly held enthralled whenever a teacher would relate one of the great tales of Celtic lore - Cuchulainn and the hound, The Brown Bull of Cooley, the exploits of The Fianna (Irish mythology's version of The Avengers). Those stories are timeless, and here in Ireland we hold them in great respect. They're important to us, a proud part of our culture. If you're British you likely feel the same way about the Arthurian legends, and if so your reaction to Guy Ritchie's take on your nation's greatest folk tale may be to request the Queen exercise her power to imprison the director in the Tower of London.
The first question you might have about Sucker Punch is whether it is an entirely pointless action movie. After all, the posters and trailers for Sucker Punch all present five scantily clad young women in various violent settings, giving the impression that it's all action and no story. As someone who had these assumptions before finally seeing the movie, I can tell you this: the action is NOT pointless, and there IS a story. In fact, the main reason I liked Sucker Punch is not because the action isn't pointless but because the point of the action is a rather interesting one: driving the story without being too obvious about doing so.
"Ray, people will come Ray. They'll come to Iowa for reasons they can't even fathom. They'll turn up your driveway not knowing for sure why they're doing it. They'll arrive at your door as innocent as children, longing for the past. Of course, we won't mind if you look around, you'll say. It's only $20 per person. They'll pass over the money without even thinking about it: for it is money they have and peace they lack. And they'll walk out to the bleachers; sit in shirtsleeves on a perfect afternoon. They'll find they have reserved seats somewhere along one of the baselines, where they sat when they were children and cheered their heroes. And they'll watch the game and it'll be as if they dipped themselves in magic waters. The memories will be so thick they'll have to brush them away from their faces. People will come Ray. The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It has been erased like a blackboard, rebuilt and erased again. But baseball has marked the time. This field, this game: it's a part of our past, Ray. It reminds of us of all that once was good and it could be again. Oh... people will come Ray. People will most definitely come."
Though it boasts a cult of stubborn supporters, Ridley Scott's Alien prequel Prometheus is widely regarded a failure; yet another misstep in a franchise that hasn't offered us a thoroughly satisfying installment since the 1980s. Like Rob Zombie with his Halloween reboots and George Lucas with his Star Wars prequels, Scott decided the simple concept that made the initial movies such classics wasn't enough, and retro-fitted a mythology that explained the origins of the series' iconic extra-terrestrial terrors. It was a backstory most of us didn't need, nor cared for, and audiences were left checking their watches throughout, wondering when the bloody aliens might show up.
Ciudad, a fin de siècle Latin American comic (Barreiro, R. & Gimenez, J. Barcelona, Toutain Editor: 1982-1991), could not have a more adequate title. Totalizator: that is something urban theory can make us think about. Although it is not about the story of a city but about those who inhabit it, the city is by itself everything that exists: as a huge living being that isolates or surround its tiny human living creatures, it is the place for loss and madness. It is a metaphor of existence as something that in which someone is born despite his/her decision of living it in a violent way.
Back in the early '90s there was a chewing gum we liked. On May 22nd it's set to come back in style as Twin Peaks returns to living rooms for its belated third season. If you're new to David Lynch and Mark Frost's little Northwest town and find yourself hungry for more to chew on, here are 10 movies and TV shows that influenced or reflect the mood of Twin Peaks.
Title: Saving Mr. BanksMPAA Rating: PG-13Director: John Lee HancockStarring: Colin Farrell, Tom Hanks, Emma ThompsonRuntime: 2 hrs
There was plenty of action in the 80s, and Hollywood was no stranger to getting in on the the freewheeling. Here’s the top five best and five worst action movies of the 1980s. Enjoy!
Title: HerMPAA Rating: RDirector: Spike JonzeStarring: Joaquin Phoenix, Scarlett Johansson, Amy AdamsRuntime: 2 hrs Theodore Twombly (Phoenix) is a lonely man, one who knows no solace outside his own misery. Separated from his wife Catherine (Rooney Mara) and confused by humanity, and its social connections Theodore stays introverted.Even his best friend Amy (Adams) is stupefied by what exactly has happened to “theold Theodore” One day on his way home he spots a new computer operating system known as OS1, the most personal OS ever created, a few questions later we are introduced to his OS known as Samantha (Johansson). What ensues between these two can only be experienced as they try, and succeed in finding happiness within one and other, and surprisingly both end up learning about themselves more than each other.
Title: Never Let Me GoMPAA Rating: RDirector: Mark RomanekStarring: Carey Mulligan, Andrew Garfield, Kiera KnightleyRuntime: 1 hr 43 mins
Title: The High Cost of LivingMPAA Rating: UnratedDirector: Deborah ChowStarring: Zach Braff, Isabelle BlaisRuntime: 1 hr 32 mins