12 Years A Slave Wins In Boston


The Boston Society Of Film Critics voted earlier today and 12 Years A Slave — which, so far, has been underperforming with the critics’ groups — swept the awards.  The Wolf of Wall Street came in second for most of the major awards.

BEST PICTURE
“12 Years a Slave”
Runner-up: “The Wolf of Wall Street”

BEST DIRECTOR
Steve McQueen (“12 Years a Slave”)
Runner-up: Martin Scorsese (“The Wolf of Wall Street”)

BEST ACTOR
Chiwetel Ejiofor (“12 Years a Slave”)
Runner-up: Leonardo DiCaprio (“The Wolf of Wall Street”)

BEST ACTRESS
Cate Blanchett (“Blue Jasmine”)
Runner-up: Judi Dench (“Philomena”)

BEST SUPPORTING ACTOR
James Gandolfini (“Enough Said”)
Runner-ups:
Barkhad Abdi (“Capt. Phillips”) and Jared Leto (“Dallas Buyers Club”) tie for second.

BEST SUPPORTING ACTRESS
June Squibb (“Nebraska”)
Runner-up:
Lupita Nyong’o (“12 Years a Slave”)

BEST SCREENPLAY
Nicole Holofcener (“Enough Said”)
Runner-up:
“The Wolf of Wall Street”

BEST FOREIGN LANGUAGE FILM
“Wadjda”
Runner-up: “Blue Is the Warmest Color”

BEST DOCUMENTARY
“The Act of Killing,” Josh Oppenheimer
Runner-ups:
“Blackfish,” “Leviathan,” “At Berkeley,” “Crash Reel,” “20 Feet from Stardom ”

BEST ANIMATED FEATURE
“The Wind Rises,” Hayao Miyazaki
Runner-up:
“Frozen”

BEST NEW FILMMAKER
Ryan Coogler (“Fruitvale Station”)
Runner-up: Josh Oppenheimer (“Act of Killing”)

BEST CINEMATOGRAPHY
Emmanuel Lubezki (“Gravity”)
Runner-up:
Phillippe Le Sourd (“The Grandmaster”)

BEST EDITING
Daniel P. Hanley, Mike Hill (“Rush”)
Runner-up: Thelma Schoonmaker (“The Wolf of Wall Street”)

BEST USE OF MUSIC IN A FILM
“Inside Llewyn Davis”
Runner-up: “Nebraska”

The Los Angeles Film Critics Honor James Franco!


Earlier today, the Los Angeles Film Critics Association announced the picks for the best of 2013.  There are a few things worth noting:

1) Her is coming on surprisingly strong.

2) James Franco won best supporting actor for Spring Breakers!  Well, technically, Franco tied with Jared Leto for Dallas Buyers Club.  But still, it’s good to see Franco’s audacious performance getting some recognition.

3) My favorite film of 2013 — Shane Carruth’s Upstream Color — came in second for best editing.

Here are the winners:

BEST PICTURE (tie)
“Gravity,” “Her”

BEST DIRECTOR
Alfonso Cuaron, “Gravity”
Runner-up: Spike Jonze, “Her”

BEST ACTOR
Bruce Dern, “Nebraska”
Runner-up: Chiwetel Ejiofor, “12 Years a Slave”

BEST ACTRESS (tie)
Cate Blanchett (“Blue Jasmine”); Adele Exarchopoulos (“Blue is the Warmest Color”)

BEST SUPPORTING ACTOR (tie)
James Franco, “Spring Breakers”; Jared Leto, “Dallas Buyers Club”

BEST SUPPORTING ACTRESS
Lupita Nyongo, “12 Years a Slave”
Runner-up: June Squibb, “Nebraska”

BEST SCREENPLAY
“Before Midnight,” Julie Delpy, Ethan Hawke & Richard Linklater
Runner-up: “Her,” Spike Jonze

BEST EDITING
“Gravity,” Alfonso Cuaron & Mark Sanger
Runner-up: “Upstream Color,” Shane Carruth & David Lowery

BEST CINEMATOGRAPHY
“Gravity,” Emmanuel Lubezki
Runner-up: “Inside Llewyn Davis,” Bruno Delbonnel

BEST PRODUCTION DESIGN
“Her,” K.K. Barrett
Runner-up: “Inside Llewyn Davis,” Jess Gonchor

BEST MUSIC/SCORE
“Inside Llewyn Davis,” T Bone Burnett
Runner-up: “Her,” Arcade Fire & Owen Pallett

BEST FOREIGN-LANGUAGE FILM
“Blue is the Warmest Color”
Runner-up: “The Great Beauty”

BEST ANIMATED FEATURE
“Ernest and Celestine”
Runner-up: “The Wind Rises”

BEST DOCUMENTARY/NONFICTION FILM
“Stories We Tell”
Runner-up: “The Act of Killing”

Song of the Day: Let’s Duet (performed by Dewey and Darlene Cox)


The temperature started to drop on Thursday night.  Since Friday, it hasn’t gotten above freezing and all the roads are covered in ice.  I’ve been stuck inside for three days now.

But things are getting better because this morning, I woke up and one of my favorite movies was on Comedy Central.  Walk Hard: The Dewey Cox Story always makes me happy.  I watched it, I laughed, and I forgot about the weather.  Today’s song of the day is my favorite song from Walk Hard, “Let’s Duet.”

 

Glorious Fantasy, Part Two: Final Fantasy II


And now for Part 2 of my recurring series in which I ambitiously try to play through every single game in the Final Fantasy franchise, from FF1 through FF13-2, with as many of the ‘side’ titles, spinoffs, and other games along the way as I can manage.

For those who are still unfamiliar with my premise (read: probably everyone), here’s a recap:

Most people have already played many/most/all of the games that I’m going to write about in this series (weirdly, as I compiled the list of games, I personally have not played a fair number of them). I don’t care. I’m going to look at all (most? I’m bad with structure, we’ll see how long this lasts) of the following things from these games:

– Some objective data. What version of the game did I play, and why did I select that one. Since it is now obvious to me that I’m going to play a fair number of ‘remakes’ in the early Final Fantasy games, I’m also going to research the differences and try to note some of them here. This was a big part of my experience with FF1, which I am now intending to revisit as a part of this series later.
– Is the game any good? Seriously! I’m sure some of these games suck!
– Is the answer to that question, “It just doesn’t hold up”? Why? <– This question is not going to last into the more modern games, but I suspect it could affect games even as recent as FF7, the graphics of which I'm afraid will hurt my brain.
– How would I place this game in a historical context? I want to watch the series evolve and devolve and side-volve as I go.
– Did I enjoy this game? What were the emotions and insane facial expressions I went through while playing it?
– How many times I frantically Googled maps for enormous maze-like dungeons because I no longer have the patience to solve them on my own?
– Was it… challenging? Were these games ever hard? Does the challenge ebb and flow?
– No MMORPGs. Sorry FF14 fans, I don’t ‘do’ MMORPGs anymore. Plus, the plan here hopefully doesn’t involve spending a bunch of money acquiring and (especially) subscribing to games.

I think all of this is extremely important knowledge, and that the human race will be improved by my research.

FF2logo

Now that that’s out of the way, let’s talk about the second game in the Final Fantasy series…another that I had never played before… Final Fantasy II.

It’s not surprising that I hadn’t played this game before, and it’s probably true for a lot of people, even now. FF2 was never translated into English on the NES system, and, indeed, was not widely available in other languages until the “Dawn of Souls” release (with FF1!) in late 2004 (exact date varying based on your nationality). The reasons for this are murky. I have heard that Square didn’t think FF2 and FF3 would sell well in the United States and other markets outside of Japan, as well as a handful of other explanations. Suffice to say, it hardly matters now, over 20 years later.

What version did I play? Why, oddly enough, I played the iOS version. I had purchased it as a game to play during downtime at work, so I already possessed the version. I had not gotten as far as I’d expected to during said downtime, but I hit the afterburner after I decided to take this series a little bit more seriously. The main differences from the original, according to my research, are the the graphics are much prettier (muuuuuuch prettier, and high res!), you can dash, and the game does away with the ‘ineffective hit’ if your target dies after you’ve input a command but before it is executed. I have also heard that in the original game, your HP only upgraded if your character took significant damage, whereas the version I played seemed to award an HP up to all characters every ten battles or so. I do not think I could have completed the game relying on just that HP-up.

FF2 is the first game in the series (well, it is only the second game…) to feature that story-connective-tissue I discussed in the original. In this case, the basic premise is that four youths were attacked by soldiers of the Palamecian Empire near the town of Fynn. Three of them later wake up in the city of Altair, having been saved by Rebel sympathizers. The three friends join the Rebellion and, frankly, do most of the heavy lifting themselves. Although the narrative certainly isn’t as comprehensive as some of the later titles (indeed, Final Fantasy IV is the first game that begins to look like a ‘modern’ JRPG title), it does do a little more to guide you from place to place. I will admit that I still used a world map to help me figure out what was where, but I found my overall need for outside assistance in making it through this game in a reasonable amount of time was much less than Final Fantasy.

Okay, now, let’s talk about the elephant in the room. The thing everyone either seems to tolerate or completely loathe about FF2… and that’s the leveling system. Unlike every other game in the series (at least, that I’ve played), you do not gain experience levels in FF2. At all. Instead, your stats raise when you use them, or need them. For example, attacking repeatedly with your weapons begins to raise your strength. Having a shield equipped and being attacked begins to raise your evasion. Using magical spells raises your intelligence (Black) or spirit (White). Suffering damage raises your max HP, but also your Stamina (which determines how much HP you gain when your HP goes up). Spending 30 minutes casing spells in one battle slowly may eke out some extra MP for you if you have the patience. Now, obviously, this makes some of your stats comparatively hard to raise (max MP, again, anyone?), and since you need some of everything to be successful in this game, I can see how it would cripple some parties, and make it unfun to play. I’m totally with you.

But I kind of secretly really enjoyed it.

If only because it gave me the freedom to turn the girl of the party, Maria (who as you might expect starts out fast and with good magic, and terrible physical stats) into a frenzied dual-sword-wielding dervish, while the typical FF hero, Firion, became a Red Wizard, standing in the back row and slinging spells. Of course, I could have mixed and matched those attributes any way I wanted, and, indeed, Maria also had some of the most formidable spells (such as Flare) at her command, and youth #3, the hulking Guy, was an excellent back-up White Mage. Balance can be hard to achieve in FF2, however, because once you’ve passed a certain point with Strength or Spirit or Intelligence, the magic stats begin to lower your strength, and vice versa. As a result, if you want to have a balanced character, you have to always be using a mix of abilities and never go into auto-battle mode or spend every turn curing wounds.

Fortunately, mixing abilities also has its benefits, as your spells and weapons gain ‘levels’ as well, as they are used, becoming more powerful (and in the case of spells, more expensive).

The plot of the game is still pretty rudimentary, but it does introduce a couple of key staples of later games: FF2 is the first title to feature chocobos, Cid as an airship commander, and the order of Dragoons. It was also the first game to use the MP system that would be a series staple for about fifteen years or so, though it would not reappear in the next title.

I should also note that FF2 can be quite difficult. I often felt the enemies were challenging during the early-mid part of the game, but I also think I hit kind of a critical mass with leveling up stats and eventually became overpowered. Because of the mechanics of the game, that condition never really changed; no matter how high my warrior woman’s strength got, it seemed that it could always get a little bit higher. I occasionally found it beneficial to grind out a couple levels of new spells (most of them are pretty ineffective at level 1) but this was a fairly painless process. The difficulty is also tempered by the easy availability of powerful items like HiPotions and Ethers, which are not as expensive as they should be given how much they alleviate the difficulty of the later dungeons.

I suppose my overall impression of the game was pleasant…but it’s not one of the series’ stronger entries in my mind. It stands as a bit of an odd duck; not really influential on later titles, except perhaps as a failed experiment. While it advances in some ways from the original game, these are not significant advances, and even the unique character sprites won’t be carried over into the next title… which I will write about soon.

44 Days Of Paranoia #20: Seven Days In May (dir by John Frankenheimer)


For today’s entry in the 44 Days of Paranoia, let’s take a look at the 1964 political thriller, Seven Days In May.

Directed by John Frankenheimer (who also directed the conspiracy classic, The Manchurian Candidate), Seven Days In May opens with unpopular President Jordan Lyman (Fredric March) on the verge of signing a treaty with the Russians.  The chairman of the joint chiefs-of-staff, Gen. James Scott (Burt Lancaster), is opposed to the treaty and feels that Lyman’s actions will lead to the collapse of the U.S.  When Scott’s aide, Jiggs Casey (Kirk Douglas), thinks that he’s come across evidence that Scott is planning a military coup, he takes his suspicions to the White House.  Working with an alcoholic Senator (Edmond O’Brien) and a cynical political aide (Martin Balsam), the President launches his own investigation into Scott’s activities.

When it was first released, Seven Days In May was very successful with both critics and audiences.  Edmond O’Brien even received an Oscar nomination for best supporting actor.  When viewed today, however, Seven Days In May feels rather quaint.  A good deal of the film’s suspense was meant to be generated by the question of whether or not Gen. Scott is actually planning a coup.  However, for the modern viewer, it’s really not a question worth asking.  For us, it’s easy to watch this film and shout, “Of course he’s planning on overthrowing the government!  He’s the most obviously villainous character in the entire film!”  The idea of a military conspiracy to overthrow the U.S. government was perhaps shocking back in 1964 but today, we take the existence of such conspiracies for granted.

Seven Days In May is definitely a product of its time.  Unlike John Frankenheimer’s other well-known conspiracy film, The Manchurian Candidate, there’s no sly undercurrent of satire or subversion running through Seven Days In May.  Instead, Seven Days In May epitomizes everything that we think of when we think about the early 60s.  The film’s politics are liberal but not radically so.  The President is such an honorable leader that he won’t resort to the politics of personal destruction and reveal that Scott has a mistress.  Casey explains that he disagrees with the President’s politics but that he is bound by duty to reveal Gen. Scott’s subversion.  Indeed, by the end of the film, it’s obvious that we’re meant to condemn Scott not because he might overthrow the President but because he would subvert the democratic process to do so.  Seven Days In May is a film that tells viewers to support and respect their elected leaders, whether they be good or evil and whether they’re played by Fredric March or Burt Lancaster.

When I listened to Casey explain why he was informing on a man who he claimed to admire and agree with, I was reminded of some of the recent political debates that we’ve had deal with her in America.  All of those debates can pretty much be summed up by whether we, as citizens, are obligated to support a law even if we personally don’t agree with it or to respect a leader even if we do not agree with him.  The answer, according to Seven Days In May, would appear to be yes.

While Seven Days In May is often a bit too ponderous for its own good, it’s still a well-made and watchable film.  If you’re a history nerd like me, you’ll enjoy the film as a portrait of its time.  John Frankenheimer directs as if the movie is a film noir and the film’s shadowy black-and-white cinematography looks great.  Finally, if you’re a fan of the old school movie stars, how can you not enjoy a film that features Kirk Douglas, Fredric March, and Burt Lancaster?

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again
  19. Capricorn One

Here Are The Ten Semi-Finalists For The Best Visual Effects Oscar


Yesterday, the Academy’s Visual Effects Branch Executive Committee  announced the ten semi-finalists for the Best Visual Effects Oscar.

And here they are:

Elysium

Gravity

The Hobbit: The Desolation of Smaug

Iron Man 3

The Lone Ranger

Oblivion

Pacific Rim

Star Trek: Into Darkness

Thor: The Dark World

World War Z

Five of the films listed above will receive actual Oscar nominations and then one will win the Oscar.  And that one will probably be Gravity.

It’s interesting to note that Man Of Steel, a film that basically was just 143 minutes of visual effects, failed to make the cut.

44 Days of Paranoia #19: Capricorn One (dir by Peter Hyams)


Last night, the temperature plunged here in Texas.  When I woke up this morning, I was confronted with a world that was literally frozen.  Needless to say, nobody in Dallas went to work today.  Instead, we all sat in our houses and tried to keep ourselves entertained.  I kept myself occupied by watching a film that was initially released way back in 1978 and which takes place in my home state.

The name of that film was Capricorn One and it’s the latest entry in the 44 Days of Paranoia.

Capricorn One begins with three astronauts preparing to take the fist manned space flight to Mars.  James Brolin is the stoic leader.  Sam Waterston is the guy who has a joke for every occasion.  And O.J. Simpson is … well, O.J. really doesn’t have much of a personality.  He’s pretty much just along for the ride.

However, it turns out that there really isn’t going to be a ride.  Just as the countdown begins, the astronauts are ordered to leave the capsule.  They are then transported to secret base in the Texas desert.  It’s here that they have a meeting with the Head of NASA, who is played by Hal Holbrook.  (It’s simply not a 70s conspiracy film if Hal Holbrook isn’t somehow involved).  Holbrook proceeds to deliver a stirring monologue where he talks about how he and Brolin have always dreamed of sending a manned flight to Mars.  However, as Holbrook explains, the life support system on the crew’s ship was faulty.  If Holbrook had allowed them to be launched, they would have died as soon as they left the Earth’s atmosphere.  However, if the mission had been canceled then there was a chance that the President would use that cancellation as an excuse to cut NASA’s funding.

So, as Holbrook explains, an empty spaceship has been launched into space.  As far as the American public is concerned, the three astronauts are currently on their way to Mars.  Now, in order to save the space program, they are going to have to fake the mission.  In a studio, a fake alien landscape has been set up and it’s from that studio that Brolin, Waterston, and Simpson will pretend to explore Mars.

Brolin, Waterston, and Simpson reluctantly agree to cooperate with the plan.  However, after doing the first fake broadcast, Brolin starts to have second thoughts.  Realizing that he can’t trust the three astronauts to keep a secret, Holbrook announces that the capsule’s heat shields failed during re-entry and that the crew of Capricorn One is now dead.  Now, all he has to do is have the three of them killed for real.

Meanwhile, a NASA technician (Robert Walden) stumbles onto evidence of the deception.  He subsequently vanishes but not before he tells reporter Elliott Gould about his suspicions.  While the three astronauts try to escape from Holbrook’s agents, Gould tries to find out what really happened to Capricorn One.

It’s probably half-an-hour too long, the plot is full of holes (the least of which being why Holbrook waited until after he had announced the fake deaths to order the real deaths), and director Peter Hyams allows a few scenes to run on and on while others seem to end with a jarring abruptness.  However, for the most part, Capricorn One is a well-acted and solidly entertaining film.  However, there are two things that make Capricorn One especially memorable.

First off, Capricorn One features one of the most exciting action sequences that I have  ever seen.  It occurs while Gould is investigating Walden’s disappearance.  After visiting Walden’s apartment and discovering that it’s inhabited by a woman who claims to have never heard of his friend, Gould is driving away when he discovers that his brakes have been disabled.  The car then starts to accelerate and Gould finds himself desperately trying to regain control as the car careens through the streets of Houston.  The scene is shot almost entirely from Gould’s point-of-view and, for five minutes, we watch as everything from other cars to unlucky pedestrians come hurtling towards the car.  For those few minutes, when the viewer and Gould become one, Capricorn One is not only exciting but it feels genuinely dangerous as well.

Secondly, Capricorn One features some of the oddest dialogue imaginable.  Peter Hyams not only directed the film but he also wrote the screenplay as well.  Watching the film, one gets the feelings that Hyams was so in love with his dialogue and with all of his quirky characters that he simply could not bring himself to cut anything or anyone.  As a result, the film is full of lengthy monologues.  When the characters speak to each other, they don’t have conversations as much as they trade quips.  Characters like Gould’s ex-wife (played by Karen Black) and his editor (David Doyle) show up for a scene or two, deliver monologues that are only tangibly related to the film’s plot, and then vanish.  Sam Waterston ends up telling the world’s longest joke while he climbs a mountain in the desert.  Towards the end of the film, Telly Savalas (who was in my favorite Mario Bava film, Lisa and the Devil) shows up as a foul-tempered crop duster and engages in a long argument with Gould who, despite being a reporter, never bothers to question why Savalas would have a crop dusting business in the middle of the desert.

But here’s the thing — it works.  As odd as some of the dialogue may be and as superfluous as some of the action is to the overall plot, it still all works to the film’s benefit.  The constant quirkiness works to keep the audience off-balance and to give Capricorn One its own unique rhythm.

Capricorn One — see it now before Michael Bay remakes it.

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again

Ghosts of Christmas Past #6: The Lego Star Wars Christmas Special


Earlier today, I went on YouTube in a search for more classic Christmas episodes and specials.  While I was searching through the results, I came across the Lego Star Wars Holiday Special from 2009.  Seeing as how quite a few of our readers had a good reaction to The Star Wars Holiday Special, I figured why not share the Lego version here?

So, directly from Al Nickels Films, here’s the Lego Star Wars Christmas Special!

Enjoy!

Song of the Day: Let’s Fighting Love (by Matt Stone and Trey Parker)


Let's Fighting Love

What’s more Christmas than some good old cheer song about fighting love from the creators of South Park.

Let’s Fighting Love

I have a wonderful penis
There is hairs on my balls
Is that the sound of a baby monkey?
No! Ninjas are here!
Hey hey let’s go! Getting in a fight!
The important thing is to protect my balls!
I am badass, so let’s fighting
Let’s fighting love!
Let’s fighting love!

This song is a little stupid
It doesn’t make any sense
English is all fucked up
But that’s ok, we do it all the time!
Hey hey let’s go! Getting in a fight!
The important thing is to protect my balls!
I am badass, so let’s fighting
Let’s fighting love!
Let’s fighting love!