So, Gift Shop Girl needed some help creating a Bourne-esque dossier* for her cousin. BAM!
Nexus Project Phase II
*While completely unofficial but official sounding, all ideas and creations in above link are the sole property of me. Except his name. That's his.
Sunday, August 23, 2009
Monday, August 17, 2009
A Beer, A Band and a Blog v0.1 - MuteMath - "Armistace"
I would never know the awesome wonder that is MuteMath if not for a few friends.
And today - Tuesday, August 18, 2009 - that awesomeness continued with the release of the New Orleans band's new disk, "Armistice".
'Bout time!
Even though I have been listening for about a year now (or less), I needed more MuteMath. We all do. The Earth does. It really is beneficial to the universe as a whole actually.
(Even Yoda would love some MuteMath, if he didn't die a long time ago in a galaxy far, far away.)
So, as I listened to the album for the first time at 2:30ish a.m. (Eastern Standard Time) I quickly started dancing in my chair (think dashboard hula girl) as "The Nerve" played, funky bass line and crazy drum beats and everything as Paul Meany muses about how the world works before proclaiming, "Set it on fire!". OK, that bass line is not really funky, but it is something, something I can not put my finger on but something that shakes you. 'Tis an excellent effect.
Example:
Can you believe this world's just a double dealin' joker, gonna stick to his guns?
Can you believe this world's just a television blaring, a million devils at once?
Can you believe this world's just a charmer in disguise with a lavender soul?
Can you believe this world's just exactly as we built it, runnin' out of control?
Chorus:
Set it on fire!
Forgot this was actually on the bands website (www.mutemath.com) to promote the album. It is a great song to kick off the "Armistice" too. Get you in the mood for some rock/jazz/craziness.
Musically I love this album. Darren King's completely mezmerizes my eardrums as he plays his drums throughout the disk in a more "listen!" kind of way that really sticks out. Same thing for bassist Roy Mitchell-Cárdenas. His bass feels more prominate while guitarist Greg Hill seems to subtly add to the music without you even realizing it. Same for Meany's keyboard skills. It adds while the bass and drum set the tone.
(I wonder, should Mr. King expect some Hell Hounds after visiting the crossroads he surely sold his soul at)
There is so much music in "Armistice" too! Clapping throughout the disk, bells at one point, but it is Hill's guitar and Meany's keys that really add that music to make it something excellent and amazing. How they can all work together playing what to me is different bits and pieces to create a great song is amazing.
(Clap on!)
(Keys are the keys to success)
Then there is the lyrics ... the lyrics I am going to have to sit and stew over for a few days as I play "Armistice" over and over and over again while reading the lyrics too. Soaking in the sage words of Paul Meany and company until something clicks and I go, "OK, I get it now." It's just how my head works.
Some I get, (see "The Nerve") and then there are others I really, really can't wait to read along too, like the 9-minute epic "Burden" ending the whole album. I keep getting lost in the music and can't focus on the words Meany sings.
I yearn to keep listening and analyzing songs like "Pins & Needles" ("Oh, and I'm growing fond of broken people/As I see that I am one of them"), "Odds" and "Lost Year," the final two of which could be a love song or what I suspect to be really about the band's troubles recording "Armistice".
Thing is, there was a great religious theme throughout "MuteMath" in 2006 and I do not detect that same theme or writing for this record. Which is just fine. Reading on the band's biography it is made known that this is about questioning things - from progress, one's self, relationships - and what is next down the road.
And THAT is where the title comes in.
From Merriam-Webster: ar·mi·stice (noun): temporary suspension of hostilities by agreement between the opponents
Because THAT is what the band HAD to do to not self-implode and only give up one full album of amazing music plus a small EP (and a catchy tune from "Twilight" plus three more on that song's EP).
Overall, I love this album and think everyone should get it (plus the band's 2006 release, "MuteMath" and 2005 EP "Reset").
Yes, it is what I feel is very different from "MuteMath" and I may lean more towards that old freshman release but this is a different animal. "Armistice" compliments "MuteMath" rather than surpasses it and I can not wait to see this quartet out of NOLA perform live this fall for the first time. I can only imagine these songs being played live with King channeling his inner Keith Moon on the kit and Meany closing his eyes, playing the keys as he belts out of a verse while Mitchell-Cárdena lays down the funk and Hill makes you think, "What is that sound? OH! WOA!" on a small club stage as a sweaty fanbase sings along and I take photos from right in the center with my good ol' Canon 40D Susie.
(Feel free to correct any of my musical inaccuracies regarding instrumentation above and below, PLEASE)
www.mutemath.com
www.youtube.com/mutemath
First Impressions at 2:30 a.m. Revised at Noon upon second listening.
"The Nerve"
Right off the bat gets me "dancing in my chair," which is similar to a hula girl on a car's dashboard. I really dig this forgot we had heard it as the lead single or at least on the bands Website. What a surprise.
"Backfire"
Again, very drum heavy but the drums sound very different from what I have grown accustomed to with Mute Math. Almost reminded me at first of a Maroon 5 tune. Listening again, it's not really the guitar but the other instruments that remind me of said Maroon 5-ness and how Meany sings the song. It's not a bad thing, just a comparison I assure you. What the heck is that fun guitar effect about 1:40 into the tune? Whatever it is sounds great. I love how the bass (I suppose) makes the song - or speakers rather - "rattle", especially as the disk leads into
"Clipping"
I am assuming that is probably not the bass at this point but instead Hill's guitar. Or least on this song it is the guitar. Man, I sound like an idiot. My musician friends could certainly serve to explain what it is though. Liking the piano keys going all throughout this though. The string solo (violin?) is quite interesting later in this song too, especially when it mixes it up with the keys and the guitar to lead into chorus "Anymore, I don't know what is right anymore ...". In a way this song is a little chaotic, or about a little chaos, which compliments what I hear as somewhat chaos going on musically too.
"Spotlight"
So Mike and George are not really keen on this song. Say Mute Math can do better. But I like it. It sounds different from the "Twilight Mix" (which, I assume, is self-explanatory HAHA as that obviously says "Twilight Mix"). I like this one though. Sounds faster, bass is a little heavier. I do wonder how many takes it took them to get the clapping right though. Course I may just be a complete idiot and the product of a lower bitrate from the soundtrack on my computer. Yes, I am sure that is it. Dumbass. Wait, that makes the first three sentences useless though. Still think it sounds a tick faster.
"No Response"
First slower song of the album. It must just be my computer speakers but I swear this disk has more bass heavyness to it, which I am not complaining about. The drums sound so raw here and I love that. This track does not sound overly polished.
"Pins and Needles"
Another slower tune. Almost jazzy sounding number with the drums but at the same time sounds very intimate and minimul with the piano and guitar with Meany's voice. The rest of the instruments do no distract but fill it perfectly. So much going on but sounds so simplistic to me. Then it ends and stringed instruments begin to play, sounds like an old time movie theme or movie score here, which is awesome and yet so random. Really liking this song now that I am reading the lyrics to it too as it plays.
"Goodbye"
Kicked it back up a notch. Is it sad I want to get some roller skates when I listened to "Goodbye" again? Again, the drums really keep the pace going on this with the rest of the instruments filling in to make the sound fuller and add effect at the exact right times. Is that bells I hear being played late in the song? And again, strings. Eager to hear the drums live on this (and all these tracks) but especailly on this track, to hear how he finishes it off on stage. Hill has an almost Edge-like guitar going here at the start. I wish it had continued in the song though. Curious ... could this be a MuteMath's addition to the "New Moon" soundtrack if they were to be featured? Fits.
"Odds"
A little slower. Meany's vocals sound very different to me on this song about love that did not work out, or is it something greater that did not work out? Something else that would be better off? Almost reminds me of an 80s breakup song but with a more modern sound.
"Electrify"
Different. Faster vocals, drums working with the guitar and later bass more together. By halfway I just had to sit back and listen.
"Armistice"
Sounding funky and more clapping! The Funk is the horn section. The Funk is the bass. It is that bass line being played that adds the funk to the funkyness. To me that is the more noticeable instrument rather than King's drum kit on this tune. The addition of a brass section is an excellent choice too. Vocals sound a little soft too. Woa there's more funk, horns, bass, some clapping ... makes you shake your booty a little, bow your head down and shake it too.
"Lost Year"
First reaction? "Whoa, this is different." Soft. Loving Meany's keyboard skills here. Sound's like a very intimate song but becomes more powerful later in the tune. Song hits home for me too (as it will for many people). "If a talk could really solve this/What are we fighting for?/Words hurt more then they arm us/Don't say anymore/Anymore". Sad tune with an optimistic wish at the end to at least remember the good. I wonder, could it also be about the creative fighting the band had in the studio as they attempted put the album out before getting some outside perspective?
"Burden"
Heavy on the bass with a great guitar mix coming in as King keeps a more simple beat (for him) that does not distract you to say, "Whoa! Listen to the guy on the skins!". Really enjoy how Hill's guitar works into the song too. Then King's scatting drum solo before Meany sings "The Devil is not the nature that is around us, all around us/ But the nature, that is within us all ..." as everything slows down (think the slow down part of "Stall Out"). Then, a little bit of a breakdown, a drum solo white noise and Fin. The end. The vocal echo during the quite part is cool too, as does the added violin in the background. Or is that just keys and a guitar?
"Clockwork" (Bonus Track)
Loving this song's beat. Need to read the lyrics but I definitely think it is a strong song. Why make it simply a Bonus Track? Ya, it has been out since 2007 (YouTube video's show this), but still. Hmm.
And today - Tuesday, August 18, 2009 - that awesomeness continued with the release of the New Orleans band's new disk, "Armistice".
'Bout time!
Even though I have been listening for about a year now (or less), I needed more MuteMath. We all do. The Earth does. It really is beneficial to the universe as a whole actually.
(Even Yoda would love some MuteMath, if he didn't die a long time ago in a galaxy far, far away.)
So, as I listened to the album for the first time at 2:30ish a.m. (Eastern Standard Time) I quickly started dancing in my chair (think dashboard hula girl) as "The Nerve" played, funky bass line and crazy drum beats and everything as Paul Meany muses about how the world works before proclaiming, "Set it on fire!". OK, that bass line is not really funky, but it is something, something I can not put my finger on but something that shakes you. 'Tis an excellent effect.
Example:
Can you believe this world's just a double dealin' joker, gonna stick to his guns?
Can you believe this world's just a television blaring, a million devils at once?
Can you believe this world's just a charmer in disguise with a lavender soul?
Can you believe this world's just exactly as we built it, runnin' out of control?
Chorus:
Set it on fire!
Forgot this was actually on the bands website (www.mutemath.com) to promote the album. It is a great song to kick off the "Armistice" too. Get you in the mood for some rock/jazz/craziness.
Musically I love this album. Darren King's completely mezmerizes my eardrums as he plays his drums throughout the disk in a more "listen!" kind of way that really sticks out. Same thing for bassist Roy Mitchell-Cárdenas. His bass feels more prominate while guitarist Greg Hill seems to subtly add to the music without you even realizing it. Same for Meany's keyboard skills. It adds while the bass and drum set the tone.
(I wonder, should Mr. King expect some Hell Hounds after visiting the crossroads he surely sold his soul at)
There is so much music in "Armistice" too! Clapping throughout the disk, bells at one point, but it is Hill's guitar and Meany's keys that really add that music to make it something excellent and amazing. How they can all work together playing what to me is different bits and pieces to create a great song is amazing.
(Clap on!)
(Keys are the keys to success)
Then there is the lyrics ... the lyrics I am going to have to sit and stew over for a few days as I play "Armistice" over and over and over again while reading the lyrics too. Soaking in the sage words of Paul Meany and company until something clicks and I go, "OK, I get it now." It's just how my head works.
Some I get, (see "The Nerve") and then there are others I really, really can't wait to read along too, like the 9-minute epic "Burden" ending the whole album. I keep getting lost in the music and can't focus on the words Meany sings.
I yearn to keep listening and analyzing songs like "Pins & Needles" ("Oh, and I'm growing fond of broken people/As I see that I am one of them"), "Odds" and "Lost Year," the final two of which could be a love song or what I suspect to be really about the band's troubles recording "Armistice".
Thing is, there was a great religious theme throughout "MuteMath" in 2006 and I do not detect that same theme or writing for this record. Which is just fine. Reading on the band's biography it is made known that this is about questioning things - from progress, one's self, relationships - and what is next down the road.
And THAT is where the title comes in.
From Merriam-Webster: ar·mi·stice (noun): temporary suspension of hostilities by agreement between the opponents
Because THAT is what the band HAD to do to not self-implode and only give up one full album of amazing music plus a small EP (and a catchy tune from "Twilight" plus three more on that song's EP).
Overall, I love this album and think everyone should get it (plus the band's 2006 release, "MuteMath" and 2005 EP "Reset").
Yes, it is what I feel is very different from "MuteMath" and I may lean more towards that old freshman release but this is a different animal. "Armistice" compliments "MuteMath" rather than surpasses it and I can not wait to see this quartet out of NOLA perform live this fall for the first time. I can only imagine these songs being played live with King channeling his inner Keith Moon on the kit and Meany closing his eyes, playing the keys as he belts out of a verse while Mitchell-Cárdena lays down the funk and Hill makes you think, "What is that sound? OH! WOA!" on a small club stage as a sweaty fanbase sings along and I take photos from right in the center with my good ol' Canon 40D Susie.
(Feel free to correct any of my musical inaccuracies regarding instrumentation above and below, PLEASE)
www.mutemath.com
www.youtube.com/mutemath
First Impressions at 2:30 a.m. Revised at Noon upon second listening.
"The Nerve"
Right off the bat gets me "dancing in my chair," which is similar to a hula girl on a car's dashboard. I really dig this forgot we had heard it as the lead single or at least on the bands Website. What a surprise.
"Backfire"
Again, very drum heavy but the drums sound very different from what I have grown accustomed to with Mute Math. Almost reminded me at first of a Maroon 5 tune. Listening again, it's not really the guitar but the other instruments that remind me of said Maroon 5-ness and how Meany sings the song. It's not a bad thing, just a comparison I assure you. What the heck is that fun guitar effect about 1:40 into the tune? Whatever it is sounds great. I love how the bass (I suppose) makes the song - or speakers rather - "rattle", especially as the disk leads into
"Clipping"
I am assuming that is probably not the bass at this point but instead Hill's guitar. Or least on this song it is the guitar. Man, I sound like an idiot. My musician friends could certainly serve to explain what it is though. Liking the piano keys going all throughout this though. The string solo (violin?) is quite interesting later in this song too, especially when it mixes it up with the keys and the guitar to lead into chorus "Anymore, I don't know what is right anymore ...". In a way this song is a little chaotic, or about a little chaos, which compliments what I hear as somewhat chaos going on musically too.
"Spotlight"
So Mike and George are not really keen on this song. Say Mute Math can do better. But I like it. It sounds different from the "Twilight Mix" (which, I assume, is self-explanatory HAHA as that obviously says "Twilight Mix"). I like this one though. Sounds faster, bass is a little heavier. I do wonder how many takes it took them to get the clapping right though. Course I may just be a complete idiot and the product of a lower bitrate from the soundtrack on my computer. Yes, I am sure that is it. Dumbass. Wait, that makes the first three sentences useless though. Still think it sounds a tick faster.
"No Response"
First slower song of the album. It must just be my computer speakers but I swear this disk has more bass heavyness to it, which I am not complaining about. The drums sound so raw here and I love that. This track does not sound overly polished.
"Pins and Needles"
Another slower tune. Almost jazzy sounding number with the drums but at the same time sounds very intimate and minimul with the piano and guitar with Meany's voice. The rest of the instruments do no distract but fill it perfectly. So much going on but sounds so simplistic to me. Then it ends and stringed instruments begin to play, sounds like an old time movie theme or movie score here, which is awesome and yet so random. Really liking this song now that I am reading the lyrics to it too as it plays.
"Goodbye"
Kicked it back up a notch. Is it sad I want to get some roller skates when I listened to "Goodbye" again? Again, the drums really keep the pace going on this with the rest of the instruments filling in to make the sound fuller and add effect at the exact right times. Is that bells I hear being played late in the song? And again, strings. Eager to hear the drums live on this (and all these tracks) but especailly on this track, to hear how he finishes it off on stage. Hill has an almost Edge-like guitar going here at the start. I wish it had continued in the song though. Curious ... could this be a MuteMath's addition to the "New Moon" soundtrack if they were to be featured? Fits.
"Odds"
A little slower. Meany's vocals sound very different to me on this song about love that did not work out, or is it something greater that did not work out? Something else that would be better off? Almost reminds me of an 80s breakup song but with a more modern sound.
"Electrify"
Different. Faster vocals, drums working with the guitar and later bass more together. By halfway I just had to sit back and listen.
"Armistice"
Sounding funky and more clapping! The Funk is the horn section. The Funk is the bass. It is that bass line being played that adds the funk to the funkyness. To me that is the more noticeable instrument rather than King's drum kit on this tune. The addition of a brass section is an excellent choice too. Vocals sound a little soft too. Woa there's more funk, horns, bass, some clapping ... makes you shake your booty a little, bow your head down and shake it too.
"Lost Year"
First reaction? "Whoa, this is different." Soft. Loving Meany's keyboard skills here. Sound's like a very intimate song but becomes more powerful later in the tune. Song hits home for me too (as it will for many people). "If a talk could really solve this/What are we fighting for?/Words hurt more then they arm us/Don't say anymore/Anymore". Sad tune with an optimistic wish at the end to at least remember the good. I wonder, could it also be about the creative fighting the band had in the studio as they attempted put the album out before getting some outside perspective?
"Burden"
Heavy on the bass with a great guitar mix coming in as King keeps a more simple beat (for him) that does not distract you to say, "Whoa! Listen to the guy on the skins!". Really enjoy how Hill's guitar works into the song too. Then King's scatting drum solo before Meany sings "The Devil is not the nature that is around us, all around us/ But the nature, that is within us all ..." as everything slows down (think the slow down part of "Stall Out"). Then, a little bit of a breakdown, a drum solo white noise and Fin. The end. The vocal echo during the quite part is cool too, as does the added violin in the background. Or is that just keys and a guitar?
"Clockwork" (Bonus Track)
Loving this song's beat. Need to read the lyrics but I definitely think it is a strong song. Why make it simply a Bonus Track? Ya, it has been out since 2007 (YouTube video's show this), but still. Hmm.
Wednesday, July 22, 2009
Accio "Harry Potter and the Half-Blood Prince", or Reducto?
BEWARE SPOILERS BELOW
It is no state secret I am a fan of the Harry Potter series.
I love it. I defend it. I listen to wizard rock, PotterCast and MuggleCast. I quote the books. I soak it in and dive back in over and over and over.
So it should be no surprise to know I was in line at 10 p.m. for the midnight premier of "Harry Potter and the Half-Blood Prince", the sixth movie of the seven-part Harry Potter book series and a toss-up for my favorite of the entire series.
I was anxious for the film after avoiding trailers and in-depth spoilerish news since January or February and had a good feeling about it all when the trailer for "Where the Wild Things Are" showed. I thought, "This is going to be a good night” as I smiled at King Max on the silver screen.
And then, the lights dimmed, a completely ominous and foreboding silence filled the cinema and the crowd erupted into applause followed by a fast “Shh” as Dumbledore escorts a bloodied Harry out of the Ministry of Magic after fighting Voldemort in “Order of the Phoenix”. Then, the familiar Warner-Brothers and Harry Potter logos followed by Death Eaters streaking across London and into Diagon Alley, where windows are ‘sploded, Ollivander is kidnapped and a bridge demolished over the River Thames.
We were treated to much laughter (I had tears sometimes) mixed with innuendo, angst, love, hate, history, paranoia, espionage, death and sadness mixed in perfectly well together on top of what was probably the best performances yet from many of the Potter actors and a beautifully filmed movie to boot late into the wee hours of the morning.
This is especially so of Michael Gambon, who IS Dumbledore in this film and has never given a better performance in the series as he did in HBP, and also Tom Felton’s portrayal of Draco Malfoy.
There were also many nods to the fans from the books – Luna’s lion hat for Quidditch, Arnold the Pygmy Puffskein, “Won Won,” Hermione’s conjured up canaries, Spectrespecs, Ron making it snow at the Gryffindor table, the “My Sweetheart” necklace and Dumbledore stealing the knitting magazine on top of his many quirky comments.
But, at the end of the two hours and 33 minutes of film (not including the 10-15 minutes Death Eaters somehow turned the movie reel off) words could not be formed ... I was utterly and entirely speechless.
The only problem is I did not know if this was a good or a bad thing.
I could not get to sleep until past 5 a.m., what with texting back and forth with some friends here and there and just laying there in my Hut contemplating the movie.
I forced myself not to form an opinion until I went to see it again, but in the back of my head I knew what was throwing me off.
You see, I think I did not want to admit it, but I was disappointed that first go around.
Hear me out though.
The disappointment really stems from the last little bit of the movie (the BIG part of the movie) with the real Slughorn memory, the Cave, the Astronomy Tower and ... Bellatrix Lestrange lighting Hagrid's (somehow Hagrid and Fang-less) Hut on fire?
While it was cinematically better to show Dumbledore and Harry Apparate onto a rock in a rough sea and for the island in the cave to have a blue/white tint rather than green why the HELL did Snape “SHH” a visible and hiding Harry on the Astronomy Tower, where was the “Don’t call me a coward!” scream from Snape and the Funeral?
After some thought, though, several of these issues solved themselves in my head.
We have to be able to SEE Harry on the Astronomy Tower when he and Dumbledore get back (and Apparating in and out works for me) and not have him under the Invisibility Cloak. Panning left to a blank space will not work cinematically.
Snape “Shh”ing him then doing the deed still gives one a sense of conflicting opinions on his intention too, especially when you see his facial expressions throughout the movie in key scenes (Spinner’s End, the Lightening Struck Tower).
There are always going to be changes in a film based upon a book adaptation. It is unavoidable.
Personally, I was hoping beyond hope to see the U-No-Poo sign and a garden gnome on the Christmas tree.
There are good changes made, like letting Tom Felton actually act as Draco for more than two or three scenes by letting us see him working on the vanishing cabinet and choosing Jim Broadbent to play Slughorn (even though his appearance is totally different from the book but so amazing it does not matter just like Umbridge in OOTP) or having Harry listen in to Snape and Dumbledore’s conversation.
I knew we would not get the First Battle of Hogwarts (though I had forgotten) as they are instead holding out for Deathly Hallows. I knew we would not have Dobby or Kreatcher. And I knew we would have a Jo Rowling approved "attack on the Burrow" which worked to show the random violence of the Death Eaters we learn from newspapers in the book and that nobody was safe
But the Burrow’s location somehow changed from the English countryside to Nebraska?
We get such outstanding set design through the movie and the series but this change really irked me.
Yes, that is nitpicking but it is still one of several legitimate issues.
We get Luna in the lion hat and Quidditch again (THANK YOU!) with the crowd chanting “Weasley! Weasley! Weasley!” but why not “Weasley is our king!” like in the books?
This is where the movies piss people off ... and it’s not the director. It’s the screen writer, Steve Kloves.
He has done a great job and I applaud him for adapting these books to film and, as PotterCast #200 mentioned, this is the best of his adaptations to date. But some of his changes leave me saying “WTF mate?”.
For instance, the opening scenes were outstanding but having Harry show up unannounced to the Weasley’s for the rest of the summer was just, well, stupid and rude.
What, good sir, possesses you to change that up? It’s a sentence, “Oh Harry! We were not expecting you until morning.” as Mrs. Weasley hugs him.
Or Harry using Peruvian Darkness Powder to spy on Draco on the train. Well, actually I guess that fit better as him jumping up on top of a train seat always seemed iffy to me, and the powder use was a nod to the fans.
Originally I was mad Luna found Harry too but thinking back, well, we did get to see her with Spectrespecs on and passing out Quibbler’s. A good nod to the fans, though Tonks should have found him and never called Remus “Sweetheart” at Christmas, though without the First Battle of Hogwarts we would never know they were even slightly.
Here is the kicker though. The change and huge plot hole that almost made me not like the movie.
Where in the bloody hell did Dumbledore tell Harry what he suspected to be the other Horcruxes?
Dumbledore is dead, so unless he left a note for Harry or Harry dives into the pensieve with Hermione’s help how the hell is he supposed to figure it out?
Plus Ginny was the one to hide the Half-Blood Prince’s Potion’s book in the Room of Requirement before kissing Harry and thus him not seeing the diadem. Will Ginny be the one to help Harry find that one and thus give her more of a presence in the movie too? Could be and I supposed that will work out ok, as I do like Ginny’s character.
There was not enough time for all the pensieve scenes but Harry knows nothing now and all it would have taken is two minutes of dialogue with Dumbledore explaining it to Harry.
This is what I think disappoints me with the movie, not a few “minor” changes.
The fear that the Trio will, in essence, be flying completely blind without knowing what to look for outside of the destroyed diary and ring o’ Slytherin (that apparently belonged to Tom Riddle’s MOTHER) because a short explanation with Dumbledore could not be fit in. They had a hard enough time working it out as it is.
As long as they somehow work Dumbledore’s expectations for the rest of the Horcruxes into those movies before the Trio sets out, I will be happy.
Like Harry had to show trust in Dumbledore on the Astronomy Tower, I must show trust in Kloves and the filmmakers to bridge this gap (thank you Melissa Anelli on PotterCast for saying you trusted they would, thus turning on the lightbulb in my head). It will just be very hard to shake this plot hole from the back of my mind until proven otherwise.
As a point of reference, I looked up some news articles on Kloves after writing the initial draft of this review and he did have the old memories in the original screenplay apparently. A full explanation as to why director David Yates cut them – which fits – can be read at http://tinyurl.com/nyaues (and furthermore in Leaky’s link to the LA Times).
I must say, while it is perfectly OK to be critical of the writing for theses films, I feel slightly more at ease moving into “Deathly Hallows” or at least about his original vision and intent.
So yes, after my first viewing I was disappointed, but then upon seeing it again I walked out saying, “This is the ‘Empire Strikes Back’ of the Potter films.”
Yeah, I said it.
Because, while everything truly changes in “Goblet of Fire”, it all just went to hell in a handbag in “Half-Blood Prince” and you know what? Putting the funeral on to this would have ruined the mood of impending defeat and the adventure to set out on Dumbledore’s task I felt when the credits rolled.
That can, and will apparently, be done at the start of “Deathly Hallows”.
It is not on a greatness level like “Empire” but it gave me that feeling after it was done. That is the comparison.
“Harry Potter and the Half-Blood Prince” truly is a great film cinematically, acting wise, set design wise and writing wise and, while there are two major disappointments in it for me (arriving at the Weasley’s and the Horcruxes), it is by far the best of the Potter movies to date while setting movie 7.1 and movie 7.2 up perfectly well and I have every intention to see it again and again, and notice even more little things thrown in for the fans.
And now, for a little wizard rock
http://www.last.fm/music/Harry+and+the+Potters/_/Dumbledore
NOTE: Oddly enough, I found while re-reading HBP I was reading Dumbledore as the late Sir Richard Harris instead of Michael Gambon. Never had that happen before I don’t think.
Oddly enough too, while re-reading HBP I felt motivated to rekindle those friendships whose fire has dwindled and throw a log on those who are burning bright still. Thank you Jo Rowling and the Trio for reminding me of the importance of good, close friends.
It is no state secret I am a fan of the Harry Potter series.
I love it. I defend it. I listen to wizard rock, PotterCast and MuggleCast. I quote the books. I soak it in and dive back in over and over and over.
So it should be no surprise to know I was in line at 10 p.m. for the midnight premier of "Harry Potter and the Half-Blood Prince", the sixth movie of the seven-part Harry Potter book series and a toss-up for my favorite of the entire series.
I was anxious for the film after avoiding trailers and in-depth spoilerish news since January or February and had a good feeling about it all when the trailer for "Where the Wild Things Are" showed. I thought, "This is going to be a good night” as I smiled at King Max on the silver screen.
And then, the lights dimmed, a completely ominous and foreboding silence filled the cinema and the crowd erupted into applause followed by a fast “Shh” as Dumbledore escorts a bloodied Harry out of the Ministry of Magic after fighting Voldemort in “Order of the Phoenix”. Then, the familiar Warner-Brothers and Harry Potter logos followed by Death Eaters streaking across London and into Diagon Alley, where windows are ‘sploded, Ollivander is kidnapped and a bridge demolished over the River Thames.
We were treated to much laughter (I had tears sometimes) mixed with innuendo, angst, love, hate, history, paranoia, espionage, death and sadness mixed in perfectly well together on top of what was probably the best performances yet from many of the Potter actors and a beautifully filmed movie to boot late into the wee hours of the morning.
This is especially so of Michael Gambon, who IS Dumbledore in this film and has never given a better performance in the series as he did in HBP, and also Tom Felton’s portrayal of Draco Malfoy.
There were also many nods to the fans from the books – Luna’s lion hat for Quidditch, Arnold the Pygmy Puffskein, “Won Won,” Hermione’s conjured up canaries, Spectrespecs, Ron making it snow at the Gryffindor table, the “My Sweetheart” necklace and Dumbledore stealing the knitting magazine on top of his many quirky comments.
But, at the end of the two hours and 33 minutes of film (not including the 10-15 minutes Death Eaters somehow turned the movie reel off) words could not be formed ... I was utterly and entirely speechless.
The only problem is I did not know if this was a good or a bad thing.
I could not get to sleep until past 5 a.m., what with texting back and forth with some friends here and there and just laying there in my Hut contemplating the movie.
I forced myself not to form an opinion until I went to see it again, but in the back of my head I knew what was throwing me off.
You see, I think I did not want to admit it, but I was disappointed that first go around.
Hear me out though.
The disappointment really stems from the last little bit of the movie (the BIG part of the movie) with the real Slughorn memory, the Cave, the Astronomy Tower and ... Bellatrix Lestrange lighting Hagrid's (somehow Hagrid and Fang-less) Hut on fire?
While it was cinematically better to show Dumbledore and Harry Apparate onto a rock in a rough sea and for the island in the cave to have a blue/white tint rather than green why the HELL did Snape “SHH” a visible and hiding Harry on the Astronomy Tower, where was the “Don’t call me a coward!” scream from Snape and the Funeral?
After some thought, though, several of these issues solved themselves in my head.
We have to be able to SEE Harry on the Astronomy Tower when he and Dumbledore get back (and Apparating in and out works for me) and not have him under the Invisibility Cloak. Panning left to a blank space will not work cinematically.
Snape “Shh”ing him then doing the deed still gives one a sense of conflicting opinions on his intention too, especially when you see his facial expressions throughout the movie in key scenes (Spinner’s End, the Lightening Struck Tower).
There are always going to be changes in a film based upon a book adaptation. It is unavoidable.
Personally, I was hoping beyond hope to see the U-No-Poo sign and a garden gnome on the Christmas tree.
There are good changes made, like letting Tom Felton actually act as Draco for more than two or three scenes by letting us see him working on the vanishing cabinet and choosing Jim Broadbent to play Slughorn (even though his appearance is totally different from the book but so amazing it does not matter just like Umbridge in OOTP) or having Harry listen in to Snape and Dumbledore’s conversation.
I knew we would not get the First Battle of Hogwarts (though I had forgotten) as they are instead holding out for Deathly Hallows. I knew we would not have Dobby or Kreatcher. And I knew we would have a Jo Rowling approved "attack on the Burrow" which worked to show the random violence of the Death Eaters we learn from newspapers in the book and that nobody was safe
But the Burrow’s location somehow changed from the English countryside to Nebraska?
We get such outstanding set design through the movie and the series but this change really irked me.
Yes, that is nitpicking but it is still one of several legitimate issues.
We get Luna in the lion hat and Quidditch again (THANK YOU!) with the crowd chanting “Weasley! Weasley! Weasley!” but why not “Weasley is our king!” like in the books?
This is where the movies piss people off ... and it’s not the director. It’s the screen writer, Steve Kloves.
He has done a great job and I applaud him for adapting these books to film and, as PotterCast #200 mentioned, this is the best of his adaptations to date. But some of his changes leave me saying “WTF mate?”.
For instance, the opening scenes were outstanding but having Harry show up unannounced to the Weasley’s for the rest of the summer was just, well, stupid and rude.
What, good sir, possesses you to change that up? It’s a sentence, “Oh Harry! We were not expecting you until morning.” as Mrs. Weasley hugs him.
Or Harry using Peruvian Darkness Powder to spy on Draco on the train. Well, actually I guess that fit better as him jumping up on top of a train seat always seemed iffy to me, and the powder use was a nod to the fans.
Originally I was mad Luna found Harry too but thinking back, well, we did get to see her with Spectrespecs on and passing out Quibbler’s. A good nod to the fans, though Tonks should have found him and never called Remus “Sweetheart” at Christmas, though without the First Battle of Hogwarts we would never know they were even slightly.
Here is the kicker though. The change and huge plot hole that almost made me not like the movie.
Where in the bloody hell did Dumbledore tell Harry what he suspected to be the other Horcruxes?
Dumbledore is dead, so unless he left a note for Harry or Harry dives into the pensieve with Hermione’s help how the hell is he supposed to figure it out?
Plus Ginny was the one to hide the Half-Blood Prince’s Potion’s book in the Room of Requirement before kissing Harry and thus him not seeing the diadem. Will Ginny be the one to help Harry find that one and thus give her more of a presence in the movie too? Could be and I supposed that will work out ok, as I do like Ginny’s character.
There was not enough time for all the pensieve scenes but Harry knows nothing now and all it would have taken is two minutes of dialogue with Dumbledore explaining it to Harry.
This is what I think disappoints me with the movie, not a few “minor” changes.
The fear that the Trio will, in essence, be flying completely blind without knowing what to look for outside of the destroyed diary and ring o’ Slytherin (that apparently belonged to Tom Riddle’s MOTHER) because a short explanation with Dumbledore could not be fit in. They had a hard enough time working it out as it is.
As long as they somehow work Dumbledore’s expectations for the rest of the Horcruxes into those movies before the Trio sets out, I will be happy.
Like Harry had to show trust in Dumbledore on the Astronomy Tower, I must show trust in Kloves and the filmmakers to bridge this gap (thank you Melissa Anelli on PotterCast for saying you trusted they would, thus turning on the lightbulb in my head). It will just be very hard to shake this plot hole from the back of my mind until proven otherwise.
As a point of reference, I looked up some news articles on Kloves after writing the initial draft of this review and he did have the old memories in the original screenplay apparently. A full explanation as to why director David Yates cut them – which fits – can be read at http://tinyurl.com/nyaues (and furthermore in Leaky’s link to the LA Times).
I must say, while it is perfectly OK to be critical of the writing for theses films, I feel slightly more at ease moving into “Deathly Hallows” or at least about his original vision and intent.
So yes, after my first viewing I was disappointed, but then upon seeing it again I walked out saying, “This is the ‘Empire Strikes Back’ of the Potter films.”
Yeah, I said it.
Because, while everything truly changes in “Goblet of Fire”, it all just went to hell in a handbag in “Half-Blood Prince” and you know what? Putting the funeral on to this would have ruined the mood of impending defeat and the adventure to set out on Dumbledore’s task I felt when the credits rolled.
That can, and will apparently, be done at the start of “Deathly Hallows”.
It is not on a greatness level like “Empire” but it gave me that feeling after it was done. That is the comparison.
“Harry Potter and the Half-Blood Prince” truly is a great film cinematically, acting wise, set design wise and writing wise and, while there are two major disappointments in it for me (arriving at the Weasley’s and the Horcruxes), it is by far the best of the Potter movies to date while setting movie 7.1 and movie 7.2 up perfectly well and I have every intention to see it again and again, and notice even more little things thrown in for the fans.
And now, for a little wizard rock
http://www.last.fm/music/Harry+and+the+Potters/_/Dumbledore
NOTE: Oddly enough, I found while re-reading HBP I was reading Dumbledore as the late Sir Richard Harris instead of Michael Gambon. Never had that happen before I don’t think.
Oddly enough too, while re-reading HBP I felt motivated to rekindle those friendships whose fire has dwindled and throw a log on those who are burning bright still. Thank you Jo Rowling and the Trio for reminding me of the importance of good, close friends.
Wednesday, May 27, 2009
Been Caught Stealing (or also "A true Gryffindor?")
I figured I should write about this one as I tossed and turned with a cold glass of milk and knife-full of peanut butter now in my belly, trying to fall back asleep.
My sleep schedule has gone to hell in a handbag, used to be 3 a.m. now I am hitting 3:30 and can't fall asleep until 4 or 4:30 a.m. So when I awoke from this dream at about 7:15 or 7:30 (after already waking up once at about 6:30), I was a: hot b: hungry and c: ashamed for some reason.
It gets warm in my hut for some reason if I don't have the AC at the appropriate level (my running theory is my amazing awesomeness warms me up during the night time and since the AC is on the other side of the Hut, it overloads what is already hot to begin with, i.e. me) and lately I wake up to have to throw it on.
Well, that happened this morning but after I had a dream that left me feeling guilty as hell.
Insert obligatory Wayne's World Daddado Daddado fadeout sound here
What I do remember is me and a team of whatnots bust into what I believe to be a pyramid like structure to do some thievery. Sounds fun enough. After a few twists and turns inside the structure , which happened to be very well lit and in no need of flashlights, we busted into a simple safe to find not a lot of cash easily stashible in a bag. I think it was the previous nights deposit from a restaurant OR I just equated it to being someones deposit. Can't recall.
Either way someone told me to take the money and go home, which I did and that is when I started to feel guilty for some reason. So I walked down the street (apparently this pyramid resides near the corner of North 18th and Glendale Drive in Abilene) and stash it under my shirt and as I walk into my neighbor yard my mom walks out of the house to run an errand, asking me what I have and saying, "You better not be in any trouble."
Pretty fast after arriving in my room I woke up feeling bad.
Weird.
I did have some fun dreams about going to NYC or something too. Now to see if I can get back to bed or I will just go ahead, do my run and fiddle around the Hut.
Have at it.
My sleep schedule has gone to hell in a handbag, used to be 3 a.m. now I am hitting 3:30 and can't fall asleep until 4 or 4:30 a.m. So when I awoke from this dream at about 7:15 or 7:30 (after already waking up once at about 6:30), I was a: hot b: hungry and c: ashamed for some reason.
It gets warm in my hut for some reason if I don't have the AC at the appropriate level (my running theory is my amazing awesomeness warms me up during the night time and since the AC is on the other side of the Hut, it overloads what is already hot to begin with, i.e. me) and lately I wake up to have to throw it on.
Well, that happened this morning but after I had a dream that left me feeling guilty as hell.
Insert obligatory Wayne's World Daddado Daddado fadeout sound here
What I do remember is me and a team of whatnots bust into what I believe to be a pyramid like structure to do some thievery. Sounds fun enough. After a few twists and turns inside the structure , which happened to be very well lit and in no need of flashlights, we busted into a simple safe to find not a lot of cash easily stashible in a bag. I think it was the previous nights deposit from a restaurant OR I just equated it to being someones deposit. Can't recall.
Either way someone told me to take the money and go home, which I did and that is when I started to feel guilty for some reason. So I walked down the street (apparently this pyramid resides near the corner of North 18th and Glendale Drive in Abilene) and stash it under my shirt and as I walk into my neighbor yard my mom walks out of the house to run an errand, asking me what I have and saying, "You better not be in any trouble."
Pretty fast after arriving in my room I woke up feeling bad.
Weird.
I did have some fun dreams about going to NYC or something too. Now to see if I can get back to bed or I will just go ahead, do my run and fiddle around the Hut.
Have at it.
Wednesday, May 6, 2009
Scrubs S8E16 "My Finale"
Maybe it is exhaustion (or simply really tired), maybe I am just overly emotional lately (for who knows what reason), maybe it is the one beer I had when I sat down to watch this finale or maybe Scrubs really has touched my life that much, but I teared up a little.
I teared up as JD walked down that hall and we saw many old faces from the past eight seasons. I teared up watching JD fantasize about his future via movie reel on a bedsheet Turk painted "Goodbye JD" on.
And I laughed a laugh I have not laughed while watching Scrubs (or any show) in a long time. Nothing overly dramatic, just real good hearty laughs.
Maybe it is just because I knew it was the end.
I am a late comer to Scrubs, first hearing about it from Bagby in 2005 ("It's like a live action Simpsons," he described it as) and finally watching a few episodes in late 2006, either when I moved to North Carolina or soon beforehand. I know I remember always getting up on Saturdays before the-first-"I Love You" when we moved out here and going into my apptly named man-cave "the Swamp" (see M*A*S*H*) and watching it on Comedy Central. Over and over and over again.
I was hooked.
It was brilliant, funny and it made me think and has continued to make me think. It got me through last summer (the season seven episode "My Perspective" especially) and I count myself lucky to have been able to see this show over the years.
Regardless of whether or not I have been around for all eight season, "goodbye" is never easy. For anything you care about.
I have had several "goodbyes" over the years, and while this does not mount up to the final box being unloaded at the-first-"I Love You"'s house after the break-up or seeing my dear teacher one last time at his funeral, the only thing I could identify this "Goodbye" with was the one I - and millions of other devoted fans - had to say at 8:47 p.m. on July 23, 2007 as I finished the Epilogue and turned the final page, closed my beloved series' final book and smiled.
Some may say Scrubs or any show, movie or book is something stupid to get attached to, to care about, to feel so much about. To them I say, "I disagree." Because the fact of the matter is we are on this Earth for a short period of time and there is nothing wrong with being entertained and developing feelings for whatever it is that entertains you, even if there are other things that more directly affect you in the world.
So thank you Bill Lawrence (producer), Zach Braff, Donald Faison, Judy Reyes, Sarah Chalke and John C. McGinley (and everyone else) for eight years (or three years for me) of laughter, thought provoking dialogue and crazy fantasies. Thank you from the bottom of my heart, because Scrubs was and always will be one damn fine show and I implore anyone that has not given it a shot to check it on on re-runs. You won't be disappointed if you like a show that is silly but thoughtful too.
And, similarly to the moments after reading that final line in July 2007, I hit "Stop" on my DVR, sat back, and smiled as the final episode concluded (which, oddly enough coincinded with my dad calling me 2 seconds later too) and said "Goodbye" to Dr. John Dorian.
PS - As much as it pains me to say it, I really don't think it would work well without JD at Sacred Heart Hospital. It just would not be right, like a John Cleese-less Monty Python. Maybe my mind can be changed though and they did say "season finale wrap" for several characters (including Judy Reyes) in the extra's (and several articles show it could go to a ninth, minus Braff and Lawrence) but without JD in the show most of the time, I don't know how much it would work. I would watch it though. I promise.
I teared up as JD walked down that hall and we saw many old faces from the past eight seasons. I teared up watching JD fantasize about his future via movie reel on a bedsheet Turk painted "Goodbye JD" on.
And I laughed a laugh I have not laughed while watching Scrubs (or any show) in a long time. Nothing overly dramatic, just real good hearty laughs.
Maybe it is just because I knew it was the end.
I am a late comer to Scrubs, first hearing about it from Bagby in 2005 ("It's like a live action Simpsons," he described it as) and finally watching a few episodes in late 2006, either when I moved to North Carolina or soon beforehand. I know I remember always getting up on Saturdays before the-first-"I Love You" when we moved out here and going into my apptly named man-cave "the Swamp" (see M*A*S*H*) and watching it on Comedy Central. Over and over and over again.
I was hooked.
It was brilliant, funny and it made me think and has continued to make me think. It got me through last summer (the season seven episode "My Perspective" especially) and I count myself lucky to have been able to see this show over the years.
Regardless of whether or not I have been around for all eight season, "goodbye" is never easy. For anything you care about.
I have had several "goodbyes" over the years, and while this does not mount up to the final box being unloaded at the-first-"I Love You"'s house after the break-up or seeing my dear teacher one last time at his funeral, the only thing I could identify this "Goodbye" with was the one I - and millions of other devoted fans - had to say at 8:47 p.m. on July 23, 2007 as I finished the Epilogue and turned the final page, closed my beloved series' final book and smiled.
Some may say Scrubs or any show, movie or book is something stupid to get attached to, to care about, to feel so much about. To them I say, "I disagree." Because the fact of the matter is we are on this Earth for a short period of time and there is nothing wrong with being entertained and developing feelings for whatever it is that entertains you, even if there are other things that more directly affect you in the world.
So thank you Bill Lawrence (producer), Zach Braff, Donald Faison, Judy Reyes, Sarah Chalke and John C. McGinley (and everyone else) for eight years (or three years for me) of laughter, thought provoking dialogue and crazy fantasies. Thank you from the bottom of my heart, because Scrubs was and always will be one damn fine show and I implore anyone that has not given it a shot to check it on on re-runs. You won't be disappointed if you like a show that is silly but thoughtful too.
And, similarly to the moments after reading that final line in July 2007, I hit "Stop" on my DVR, sat back, and smiled as the final episode concluded (which, oddly enough coincinded with my dad calling me 2 seconds later too) and said "Goodbye" to Dr. John Dorian.
PS - As much as it pains me to say it, I really don't think it would work well without JD at Sacred Heart Hospital. It just would not be right, like a John Cleese-less Monty Python. Maybe my mind can be changed though and they did say "season finale wrap" for several characters (including Judy Reyes) in the extra's (and several articles show it could go to a ninth, minus Braff and Lawrence) but without JD in the show most of the time, I don't know how much it would work. I would watch it though. I promise.
Tuesday, December 30, 2008
A Beer, a Movie and a Blog v0.1 - "Hancock"
Whilest home on vacation (or on holiday as our friends across the pond who correctly have dubbed it "football" say) my parental units and I watched "Hancock" last night, beer free I might add.
This 2008 film staring Will Smith, the always hawt Charlize Theoron and the dude from "Arrested Development" (which I still need to watch) and "Juno" was not to bad in my book, or blog. Whatever.
Oh yes. Jason Bateman.
The trailer really showed the first about 15 minutes of the entire film - unlike "Spider-Man 3" which I still half-refuse to watch for that very fact - so seeing the film flesh out in more detail was pretty good. Though, on a side note, the whole drunk superhero who decided to go to jail so folks like him thing was pretty much summed up in the trailer too.
As I told a friend, it may not be the best superhero movie of all time -we all know "The Dark Knight" is* - but what I enjoyed was the premise of the film.
That being, as I said the trailer really explains halfway, a drunk superhero decides to try and clean up his act.
Insert SPOILER ALERT now.
Now, what was truly intriguing to me was the duality or polority or whatnot between Smith and Theron's characters, which I had blissfully remained in the dark about other than "it's more of a love story about them being in love." Luckily, whomever said that was really wrong about it, mostly.
The premise that these two go back millennia (that's thousands of years) end up being attracted to one another - hell they were married - as if they were magnets was interesting. The kicker being that they become mortal when to close to each other. Sort of a, "damned if you do, damned if you don't" deal and they are the only couple created as such to last it this long.
Mix that in with Hancock's amnesia 80 years ago because of a racial beating in Miami when people saw the mixed-couple together (and therefore, mortal) resulting in Mary (Theron) deciding to let him go about doing his thing and therefor the two not being mortal and such was cool.
She get's to fall in love with Michael Bluth (any points for that AD reference I Googled?) and he gets to be pissed off when people call him "asshole", drink whiskey and know he can't remember something.
Of course we get to see this mortality affect everyone at the climax of the movie, which you can see at your leisure.
Sure there are some Spider-Manesque themes in here (he's a menace etc.) but how they deal with this was cool, as were the Hancock smart-ass remarks to folks.
In all, I would say go rent the DVD for a few bucks wherever it is you go rent DVDs and enjoy 92 minutes - including the scene in the credits with Mike Epps (uncredited but listed as Criminal) calling Hancock "Handjob" - of a good movie.
"That is all."
*I am mostly certain but would not mind more research
This 2008 film staring Will Smith, the always hawt Charlize Theoron and the dude from "Arrested Development" (which I still need to watch) and "Juno" was not to bad in my book, or blog. Whatever.
Oh yes. Jason Bateman.
The trailer really showed the first about 15 minutes of the entire film - unlike "Spider-Man 3" which I still half-refuse to watch for that very fact - so seeing the film flesh out in more detail was pretty good. Though, on a side note, the whole drunk superhero who decided to go to jail so folks like him thing was pretty much summed up in the trailer too.
As I told a friend, it may not be the best superhero movie of all time -we all know "The Dark Knight" is* - but what I enjoyed was the premise of the film.
That being, as I said the trailer really explains halfway, a drunk superhero decides to try and clean up his act.
Insert SPOILER ALERT now.
Now, what was truly intriguing to me was the duality or polority or whatnot between Smith and Theron's characters, which I had blissfully remained in the dark about other than "it's more of a love story about them being in love." Luckily, whomever said that was really wrong about it, mostly.
The premise that these two go back millennia (that's thousands of years) end up being attracted to one another - hell they were married - as if they were magnets was interesting. The kicker being that they become mortal when to close to each other. Sort of a, "damned if you do, damned if you don't" deal and they are the only couple created as such to last it this long.
Mix that in with Hancock's amnesia 80 years ago because of a racial beating in Miami when people saw the mixed-couple together (and therefore, mortal) resulting in Mary (Theron) deciding to let him go about doing his thing and therefor the two not being mortal and such was cool.
She get's to fall in love with Michael Bluth (any points for that AD reference I Googled?) and he gets to be pissed off when people call him "asshole", drink whiskey and know he can't remember something.
Of course we get to see this mortality affect everyone at the climax of the movie, which you can see at your leisure.
Sure there are some Spider-Manesque themes in here (he's a menace etc.) but how they deal with this was cool, as were the Hancock smart-ass remarks to folks.
In all, I would say go rent the DVD for a few bucks wherever it is you go rent DVDs and enjoy 92 minutes - including the scene in the credits with Mike Epps (uncredited but listed as Criminal) calling Hancock "Handjob" - of a good movie.
"That is all."
*I am mostly certain but would not mind more research
Thursday, November 20, 2008
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