Wednesday, February 10, 2016

Super Bowl 50

  
 
 http://www.eurweb.com/wp-content/uploads/2016/01/broncos-panthers.jpeg


Analysis
So the biggest game of the year - well, in America, anyway -  has come and gone.  A lot of hearts were lifted that night along with the coveted trophy, but so, too, were many dreams and expectations shattered.  So what can we take away from it? Let’s find out.

Pre-Game Analytics:  The Panthers pounced on the championship grass with the best record in the season, suffering only one unexpected, come-from-behind loss in the Peach State.  They topped the NFC in an explosive display of overwhelming offensive power, with field marshal Cam Newton leading the charge as one of the most talented, mobile, and confident QBs to grace the game in many years.  Behind him stood the nimble Greg Olsen, the most flexible tight end in the biz and Cam’s go-to guy when the chips are down, as well as Jonathan Stewart, Corey Brown, and a strong offensive line that kept this team cranking out the points like water at a bottomless well.  Add in a solid defense, and you have the makings of a quintessential “dream team,” the ultimate, unstoppable predatory force bounding towards Super Bowl history.

Unfortunately, their opponent at the crossroads of destiny came equipped with all the tools to grind their offensive juggernaut to a halt.  The Broncos rode into the big game on the back of their unrivaled defense, hedged by the twin walls of DeMarcus Ware and Von MIller, dragging games to a crawl and subjecting every Quarterback they faced - including Tom “Best by Test” Brady - to a brutal whipping.  Their offense, in comparison, is relatively lackluster.  They coasted by on the skill of support QB Osweiler and the speedy Emmanuel Sanders, but eventually saddled up their old war horse who should have LONG been put out to pasture: Peyton Manning, who after a powerful showing early season, slipped into a decline that made replacement mandatory.  With as much admiration as I have for Manning as one of the greatest in history, he overtook his prime by a parsec long before this point, and after his humiliating performance two years ago, I didn’t have much hope for Denver’s scoreboard as they lurched their way to the final showdown.

Expectations: Can’t say I had a favorite or preferred team coming into this, to be honest.  On paper, the Panthers are the stronger, or at least more well-rounded team, though they’ve never faced a defense as fast and as fierce as the Broncos.  In a way, this was an ideal match up: the tops of their respective divisions, with the best offense squaring off against the best defense, in what would undoubtedly be a hard-fought match.  While I spun no prophecies of victory for one or the other - my skills with the crystal ball being less than optimal - I did predict that any necessary team adjustments to made coming into the game belonged to the Cats.  Defense wins championships, so goes the cliche with more than a germ of truth, and if the Panthers came in expecting to knock ‘em back to the end zone for 30 or 40 points, they were due a very rude awakening.

First Half: The gridiron tussle proceeded as expected, with both teams limping forward at a snail’s pace.  It’s already obvious from the start that Cam and his wrecking crew were completely unprepared for the lightning-fast blitz tactics of the Denver bulwark, who stopped them at every turn.  Unfortunately, the Broncos’ own failings in the offensive department laid solely at the leaden feet of Mr. Manning, who was looking every bit his 39 years, plus ten.  The Mile-High boys managed to squeeze out a field goal - the first time Carolina’s trailed in a game, not counting their Atlanta fluke - but things were otherwise unremarkable until Miller blazed past the Panthers line and stripped Newton of his ball and his dignity, landing Denver the first touchdown in the game.  After that, a not-so-quiet desperation sank into the opposing team, and Atlanta’s golden boy grew more desperate - and jittery - as his options dwindled down to one hand.  With the Broncos slamming the door on the running game and with every passing target smothered in bulky white jerseys, it’s no exaggeration to say that Newton pretty much carried his team’s offense for the entire first half.  There was a little light at the end of the tunnel when they pieced together something of an offensive drive to finally put points on the board, but what had become by that point business as usual set in once again, with turnovers, fumbles, and foul-ups galore on both ends.  And again, while the crippled performance of the Panthers can be blamed on their thorough defanging by the Broncos line, Denver’s own failures laid squarely with the ineptitude of the once almighty Manning, whose inability to produce anything on 3rd down looked scarily close to his debacle in 2014 - and had the Denver defense moving through a revolving door.

Second Half: Both teams hit the field with seemingly no change in strategy; the neutered Cats hacked up few offensive options and an increasingly worn out and frustrated Quarterback, while Manning continued his Stevie Wonder-levels of visual perceptiveness as the mounting strain on the Denver defense began to show.  Fortunately, they still had enough gumption to put the anaconda squeeze on Cam and his boys, suffocating any signs of life enough times so that Manning can strike lucky and get his men into field goal range to extend their lead.  Miller had punched the Panthers into a hole with his early touchdown, and it seemed like Carolina would not see the light of day thereafter.  It didn’t help that the Football Gods themselves were sporting brewskies from Rocky Mountain bars that night; the usually dead-accurate Graham Gano missed a 44-yard field goal by a hair, which, while unlikely to have been a game changer, could have provided a much-needed morale boost.  Fortunately, the Broncos Great Wall was starting to bare a few loose bricks since the Denver offense couldn’t keep them off the field for longer than five minutes.  Another field goal widened their lead, but the Panthers were still one touchdown away from snatching the high ground, and fought like they knew it.  Everything changed in the game’s apogean quarter, when the now-thoroughly wound-up Newton was stripped yet again of the ball...but for reasons only he, God, and the turf know, hesitated to drop down on the runaway pigskin, turning what could have been an easy recovery into a 1st and Goal for the Broncos.  With the winds of opportunity blowing on the lee shore, Manning suffered a startling lapse of competence and steered his team to its first offensive touchdown.  In a surprise move, they opted for a two-point conversion; even more surprising, Manning nailed it, and with the board now sitting at 24-10, Carolina would have to make two touchdowns in less than 4 minute to even tie.  With the inevitable in sight, the final few minutes wound down to a quiet conclusion, punctuated here and there by Cam’s tantrums.  The final insult came in the last eleven seconds, when what we can only assume to have been a little unsportsmanlike jostling not only cost the Panthers some yards, but also sped up the clock by ten seconds - denying them even the opportunity of one final blaze of glory.

Concluding Thoughts:  Peyton finally gets his second ring, though I can’t say it was well-earned.  If he’s smart, he’ll exit on a high note and ride off into the sunset, instead of subjecting his fans to another season of his unstable and rapidly fading star.  The real standout of the game is the Denver defense: Ware, Miller (who rightfully got MVP) and the rest of the crew not only held down the lid on the league’s most explosive offense, but they were effectively responsible for both of the Broncos touchdowns.  Though I feel a bit bad for Cam and the Panthers, I know they’ll be back; their set-up has real staying power, and this won’t be their last championship.  They just happened to have the worst possible match-up, and suffered for it.  At least in this case of the age-old proverbial encounter between irresistible force and immovable object, the object nets a commanding - and well-deserved - victory.

Wednesday, February 3, 2016

February Releases

February Releases





Hey, everyone - sorry I've been a little slow with the blog, real-life writing assignments have proven to be stubbornly persistent.  That said, I can't pass up the chance to share this month's media goodies, and there will be a lot more reviews coming up, I promise:

Movies

 Television

Games

Music

Anime

Books

See you at the movies! 

Monday, January 18, 2016

Foreign Review: After Life

"A-One, and a-two, and a-three..."



Movie: After Life
Directed by: Hirokaza Koreeda
Starring: Arata, Erika Oda, Susumu Terajima

Verdict:
Simply structured and subtly sad, Japanese director Hirokaza Koreeda’s After Life is a rare, humanistic look at memory, meaning and what lies beyond in a fantastic setting, and although the film might be a drag to anyone used to a more thrilling setting, its quiet and contemplative treatment of a topic too often given to overwrought sentiment will be welcomed viewing for anyone looking for a slow-paced touch of wonderment.

In depth:
Why are we here?  What happens when we die?  Is there an afterlife?  These are, perhaps, the most intriguing, confounding, and terrifying questions any person can ask - and trust me, we’ve all asked them, or will ask them, at one point in life.  It’s no surprise, then, that these mortal concerns are a common topic for filmmakers the world over.  Unfortunately, if Hollywood’s track record is anything to go by, this important and meaningful subject more often than not gets bogged down by either maudlin sentimentality, gross simplifications, or the cheap adrenaline rush of your bog-standard horror flick.  But elsewhere on the planet, at least some studios give death and its subsequent the respect they deserve, and to that end few films in my recent memory stand out more than After Life.  A calm, thoughtful little import from the Land of the Rising Sun, this minimalist fantasy by relative unknown director Hirokaza Koreeda examines the afterlife from a unique perspective, and in the process delves past our layered conceptions of what lies beyond into the heart of what makes us human.

"...And that's how I got my finger outta there!"

We begin our adventure in what looks like a decrepit old government warehouse, blanketed by a sea of fog, listening to workers go through the usual grips of the daily grind.  These beleaguered bureaucrats appear to be conducting a series of interviews with a group of wanderers who look about as thrilled to be there as someone checking in at the DMV.  I've got to say that I love the way  Koreeda lulls us into a false sense of familiarity, hitting us with a subtle and soothing set up, all before slamming us into the ground with a one-line whammy:  “It is required the I inform you that you are dead.”  This nondescript building is, in fact, a sort of makeshift purgatory, where the recently departed are given three days to choose one single happy memory of their life.  The psychopomps of this bizarre waystation will then stage a reproduction of said memory, which the souls will relive for the rest of eternity.  That, in a nutshell, is the plot - or at least, its primary focus.  There is a “B arc” centered on two of the supernatural “counselors” advising the lost souls: Takashi (Arata), a sad and distant young man dealing with the drama of an assigned case connected to his past; and Shiori (Erika Oda), his fiery junior, who harbors the obligatory "not-so-secret" secret feelings for him.

You wouldn't expect much from such a simple setup at first, but make no mistake; from this meager story morsel sprouts an achingly beautiful tree, upon which hangs the full spectrum of human emotions filtered through the primacy and power of memory.  This is Koreeda’s vision, and he captures it in spectacularly simple, yet inventive ways.  One of the first things you might notice about the cast is that most of the people playing the dead patients are not professional actors.  Koreeda collected a repository of fond memories from real people and played them on screen, all for the sake of giving his film the stamp of believably.  This speaks not only to his focus and dedication as a filmmaker, but to the keen eye and ear he has for genuine storytelling.  Koreeda weaved these different accounts into a coherent narrative that infuses his story with realism and heart - a rare accomplishment in today’s cinema, and directors would be wise to follow his example when incorporating improv amateur dialogue into their movies.  


"This movie sucks"

The interviews lay at the beating pulse of this film, providing, in as subtle a way as possible, the meaning of life through the careful (and often painful) selection of what thoughts we value the most.  Whether it’s the hot-blooded man who speaks only of women and conquests, but eventually relents before thoughts of his daughter's wedding, the teenage girl who instantly chooses Disneyland before getting talked down to something more intimate, or the sad businessman who refuses to divulge any of his memories, the interviews provide a window into how we select from out lives the moments which matter.  While some of these scenes are scripted, most of them aren’t, and Koreeda’s patient eye and good timing ensure that we never dwell on one person or are left idle for too long.  Still, sometimes it seems like Koreeda takes a little too much time getting where he needs to go.  This is a problem particularly when it came to the memory reproduction towards the end; the film walks us through the changes, picture shots, and prop creation (guess God's on a tight budget, huh?) that end up taking a significant slice of screen time.  I understand why these scenes were there - they were Koreeda’s way of reminding us of the unreliability of even our most cherished memories - but I wonder if the message was a little too subtle.  It was the first time that I actually felt like I was watching a documentary - and I can't say that I enjoyed it.

Besides the occasional story drags, the film’s biggest weakness, ironically, is the main narrative string holding it together.  Despite the low-key and easy chemistry between Takashi and Shiori, their love story didn’t really strike a chord with me the way the rest of the movie had.  To be sure, its inclusion was necessary; otherwise, After Life  really might have ended up like one big dull (if heartwarming) docudrama.  Fortunately, this little distraction doesn’t impede on the plot much until its poignant end, with most of the arc given a dignified gravitas as background dressing to Takashi's case that sparked their relationship crisis.  So much, in fact, of what really makes this movie shine boils down to what’s implied, but never stated outright.  The very existence of such a range of souls - from elderly folks to young men and women in high school, and from the open and engaging to the sad and taciturn -  is pregnant with sad but unspoken implications: how did they die?  Why do some of them adamantly refuse to disclose anything about their lives?  We never get any clear-cut answers, which allows Koreeda to unfold their stories through snippets of memory, leaving much to the imagination.

Eternity awaits

The film’s gorgeous minimalism seeps into every pore, enhancing the hazy, dream-like atmosphere and mood.  Right at the beginning, in fact, before plot even kicks off, the first thing we as moviegoers will likely notice is the music - or rather, the complete absence of it.  There is no soundtrack, no background noise of any kind, just silence, as the wayward souls tell their stories and the caseworkers go about their business trying to bring their memories to life.  Silence is and always will be an effective movie making tool, but too often it goes neglected in today’s film philosophy.  The bulk of our otherworldly bureaucrats outside of our two leads are also minimalized, but Koreeda somehow steers them away from the hell of static one-dimensionality by having their impact on the story be sporadic but meaningful.  For instance, a background character will sometimes step forward and share something from his previous life with the recently departed, serving not only to increase the subtle pathos permeating the whole film, but also to build connections between the caseworkers and their charges - connections that matter very much in the film’s final act.

With so many mortality flicks out there that either boil down to jump scares or drown it in an ocean of sentimentality, After Life was a refreshing change of pace.  Its director has a brilliant eye for subtlety, mood, and the light sadness of the human condition.  At the same time, though, he has a pretty firm disregard for narrative momentum, which may turn away a few film buffs who’d prefer not to sit through what essentially amounts to an extended sequence of interviews.  Still, After Life is a strong film despite its weaknesses, and film goers hankering for a slow, thoughtful meditation on life will have one more pleasant memory to take with them to the other side.

Grade: B

Monday, January 4, 2016

January Releases

January Releases
 











Ah, a new year.  That means new movies, new shows, new reviews, and...well, you get the picture.  This January starts with a bang, playing host to a bunch of highly anticipated films like The Revenant, The Forest, and Kung Fu Panda 3.  Television's no slouch either, with many hot premieres all throughout the month.  

Movies

Television

Games

Music

Anime


See you at the movies!
 

Sunday, December 27, 2015

Movie Review: Star Wars Episode VII: the Force Awakens




Movie: Star Wars: The Force Awakens
Directed by: J.J. Abrams
Starring: Harrison Ford, Daisy Ridley, John Boyega

Verdict:  While beset by enough pacing issues to be more than a little distracting, the long-awaited continuation to George Lucas’ seminal space opera delivers on almost all of its pregnant promise, providing great action, spectacular cinematography, and a bevy of charismatic faces both fresh and familiar in a more-than-worthy addition to the canon.

In depth:  Long ago in a movie studio far, far, away, George Lucas brought forth through the darkness of Early Seventies science fiction a new hope: an unprecedented sci-fantasy epic trilogy that influenced an entire generation of fans and changed the course of film making forever.  The original Star Wars trilogy wasn’t just a movie series - it was a life experience, and even after thirty plus years, it still lives on in the hearts of adoring fans all these decades later.  While the ill-conceived prequels a few years back put a bit of tarnish on an otherwise spotless memory jar, devotion to the original trilogy hasn’t waned one bit, and would ignite a fervor among all Star Wars geeks when Disney announced that it will be continuing Lucas’ beloved saga with a “proper” sequel.  Despite my initial slight reservations, I’m quite pleased to say that The Force Awaken lives up to nearly all of its hype, being both a pleasing tribute to the nostalgia block, and a fun, classic sci-fi adventure through and through - in no small part due to the brilliant cast, epic scope, and timeless but powerful message laying at the heart of this resurrected franchise.

It opens in classic Star Wars fashion - throwing the audience right in the middle of a new conflict between the insidious First Order, a totalitarian successor to the evil Empire who plan to dispose of the New Republic and spread their new twisted order throughout the Galaxy; and the aptly (if unimaginatively) named Resistance, protecting the new Republic.
Star Wars: making evil look awesome for 40 years
   Luke Skywalker - eternal hero and Jedi Grandmaster - is currently MIA, and with him gone, all hope rests on the shoulders of his sister Leia, now general of the Resistance.  From almost the outset, we’re thrown into the action, with the nostalgically in medias res kicking back to the old series. At the risk of spoiling those of you not familiar with the beaten-into-the-ground Jungian hero's journey after - oh - a hundred years, the story revolves around the search for the legendary savior of the Galaxy by both sides of the moral divide, bringing a host of planets and a few wanderers into the crossfire.  This is a critical establishing point; The Force Awakens rides on its power to compel the audience into the mythos - but this time, with new characters and a new direction.  Spurring on this gear shift is the film’s relentless action, always a hallmark of any good hero's epic.  However, it bears noting that this was not, as so often the case, merely a cheap ploy to distract the audience with big explosions; the film’s substance never faltered, and the plot’s furiously kinetic pacing did nothing to detract from it.  Filmmakers, take note: this is how you tell a compelling story without easing up on the octane one bit.  Rarely do I get “pumped” for  frantic action, but this movie pulled it off just right.

The cinematography and effects went a long way towards making The Force Awakens so compelling without overwhelming the audience.  David Mindel has an acute sense of scale, and made everything seem so much bigger - and the actors, by extension, much smaller - that we could help but stare up in awe at every downed Destroyer, every derelict and ruin, we come across. 
Think it could use a jump?
 While part of this can obviously be attributed to the march of movie making technology over the past 40 years, most of the credit belongs to the creators and their decisions - one of which, ironically, was deciding to not go “high tech.”  One frequent complaint of the prequel series concerned the conspicuous use of CG.  The Force Awakens take a different path, showing scale models whenever possible, and the movie felt smoother and much more organic because of it.  Shielded from the paralyzing sheen of a computer-generated superficiality, we're free to focus on the phenomenally plotted story, only contending with the effects when they have real plot relevance.

Such a strong story demands strong characters, of course, and the film definitely  provides, letting its new roster additions crawl their way to the heart of it.  I must admit that the trailers teased my expectations quite a bit, and while the difference between what was and what I thought would be left me somewhat disappointed, it by no means took anything away from my enjoyment.   John Boyega and Daisy Ridley were the stars here, or course, with the former’s portrayal of ex-Stormtrooper Finn (aka, FN-2187) being particularly noteworthy.  Though Boyega entered this role relatively untested and swaddled in a storm of racial controversy, all doubts faded before the layered performance he brought to the screen.  Although the trailer lead me to believe that he’d be the centerpiece of a redemption arc from darkness to light, we instead get a funny, engaging young traitor, one endowed with a perfectly blended balance of cowardice and courage who carries a significant portion of the early film on his shoulders.  Finn provides impeccable humor without becoming “that comic relief guy,” all due to Boyega’s perfect timing and the surprising depth he brings to the role.  Counter to nearly every other character in the mythology, Finn isn’t initially a rebel or a resister, but someone who suffocated under the oppression of the First Order to such an extent that he’s ingrained the despair and hopelessness so common to the dregs and tools in a totalitarian system.

Of course, Finn shares the spotlight with an equally fascinating, and in some ways more important, character - Rey, played by the up-and-coming Daisy Ridley.  Rey could have easily been a Luke clone - and honestly, that wouldn’t have been a bad thing.  However, Abrams and co. wisely injected a touch of mystery to her background, giving her more leeway in how quickly she "develops," so to speak.  Rey is plucky, driven, and subtly idealistic without being self-conscious, and the strength Ridley breathes into her transcends any element of age or gender, putting her on par with the best hero archetypes of old.  While there are a few cringey elements of "stop helping me!" in her early interactions with Finn, the pair eventually develop a close mutual devotion that will hopefully remain at the platonic level for the duration of the series.  Though Finn took the lion's share of my attention for most of the film, Rey's past, her possible intriguing connections, and her potential in the future will definitely be on everyone's minds in next installments.

  I had more mixed reactions to Kylo Ren; though played by a charismatic Adam Driver and blessed with a surprising amount of depth and humaneness, his arc felt pretty rushed, especially compared to the gradual unfolding that happened to Darth Vader.  I understand that a lot went on behind the scenes during the first trilogy that affected how events turned out, but that doesn’t excuse The Force Awakens and its several anomalies in an otherwise perfectly-paced movie.  Finn and Po Dameron - the handsome ace Resistance pilot played by Oscar Isaac who effectively kicked off the plot - bond alarmingly fast, though their brief relationship feels sincere and heartfelt.  There is a lot of talk concerning Rey’s shockingly rapid growth in just one film - fast enough to let her duel evenly with a trained, experienced Jedi like Kylo Ren.  I’m more forgiving on this front, since the extenuating circumstances of the climactic fight and Rey’s mysterious past are enough to make it more-or-less plausible, but it seemed like the filmmakers rushed her grasp of the Force just a bit too much. 

 But the biggest hiccup conerns how the older characters are utilized - or, well, not, depending on how you see it. Though both Han and Leia were welcomed, as always, their inclusion didn’t leave as big an impact as it could have.  This is particularly true for the old smuggler; his presence lacked context, and his relationship with the two new stars was pushed a little too hard, too quickly.  
"You say 'fanservice' like it's a bad thing."
These problems, through relatively minor compared to the overall experience, was enough to make me scratch my head and strain my willingness to believe on more than one occasion.

But these concerns are barely a ripple on the pond when the film’s looked at as a whole.  More than a few pacing issues, The Force Awakens will be remembered for the strong characters, thrilling action, and tightly-woven plot - easily on par with anything Lucas could have made at the very peak of his ability, and arguably the best this series has produced since The Empire Strikes Back.  Abrams definitely delivered the goods in this one, and when Rey, Finn and the rest set off to continue the second leg of their journey, I’ll be ready right along with them, anxious to see where and how this saga will end.

Grade: B+

Friday, December 18, 2015

Magic of Humanity: Examining Miyazaki

focus_1.jpg


Proof that a casual stroll through the backwaters of YouTube can result in something more than rage and frustration.  I discovered a great,16-minute documentary spotlighting one of the masters of Japanese anime - Hayao Miyazaki.  For anyone not in the know, Miyazaki is the mastermind behind such phenomenal and well-known animated films as My Neighbor Tortoro, Kiki’s Delivery Service, and the Academy Award-winning Spirited Away, among many more.  This little beauty gives a careful, almost loving analysis of his vision through the minute details of his many acclaimed works.  You can watch the whole thing down below, but just a few key points that I thought were critical for any budding animator or film maker to know:

  1. When designing a character, focus on “internal subtlety” over action or quirks. According to the video, Miyazaki eschews both the barren emotional landscape of most Western animation, and the cheap over-expressiveness endemic in modern anime in order to craft real, empathetic entities onscreen.  As a corollary, realize that the best creators are also the best observers of people.  
  2. Honestly, just focus on the character period.  Everything should center on your characters: what do they want?  What drives them?  What are their flaws?  And, most important of all, how have they grown by the end of their journey?  With good characters, the plot will take care of itself.  Also, Miyazaki wisely draws the distinction between a character’s wants, and his or her needs; learning to discern one from the other - and letting go of the former while embracing the latter - is often THE hallmark of growth.
  3. Never, EVER underestimate the primacy and power of mood.  Mood can change a landscape, making it feel much grander or smaller that you’d expect; or it can provide a subtle window into a character's thoughts, emotions, and state of mind.  Mood and feeling is extraordinarily difficult to peg down and communicate verbally (indeed, the distinction between a good writer and a bad one can often be made based on observing who is or isn’t so foolish as to undertake such a futile attempt) but that’s okay.  The inexplicability of emotions is what gives them their greatest impact.

There’s a lot to criticize in the presentation, but it’s still a fine window into one of animation’s most engaging minds.



Wednesday, December 2, 2015

December Releases

 December Releases
It's new release time once again, and this month's loaded with lots of cool movies that are bound to...
Hah!  Nope, couldn't say that with a straight face.  Sorry - it ain't happening.
 Let's get this out of the way right now: we all know this month's pretty much about one thing, right?  Like - I don't know - a certain movie that starts a long time ago, in a galaxy far, far away?  Ring any bells?  Yes?  Good.
In all seriousness, the new Star Wars flick is the movie event of month, if not the entire year - nothing else even comes close.  Some fans have been waiting damn-near thirty years for this, and the circus surrounding it - for better or worse - only seems to grow the closer we get to ground zero on the 18th.  That said, there are some rather interesting non Star Wars things happening this month across mass media: 
Movies
Games
Music 
Books
May the Force be with you!