End of Watch: Character Over Action

When I first saw the trailer for End of Watch, to be honest, I had zero interest in it. For one thing, the trailer went on a little long and didn't do much to make the movie seem like more than your standard "cops deal with South Central LA crime." But the pre-release buzz was strong and positive, the reviews were solid (it currently holds an 85% on Rotten Tomatoes). So I rolled with it. And I'm glad I did.

End of Watch is better than your average movie about "cops deal with South Central LA crime." It has a beating heart and an intelligent, dialogue-based script that gives the audience plenty of rich character moments. Starring Jake Gyllenhaal (Love and Other Drugs, Source Code), Michael Pena (Tower Heist, The Lincoln Lawyer), Anna Kendrick (50/50, Up in the Air) and David Harbour (Quantum of Solace, State of Play). Written and directed by David Ayer (Training Day, Street Kings), the film was made off a miniscule $7 million budget, making almost four times that during the two weeks it's been out in theatres.

Brian Taylor (Gyllenhaal) and Mike Zavala (Pena) are two best friends working as partners in the LAPD. Working on a film class project, Brian records his daily duties with Mike on handheld camera and he chronicles (sometimes without permission) his and Mike's dealings with a gang/drug cartel. Mike's wife Gabby (relative newcomer Natalie Martinez) is expecting their first child and Brian starts dating graduate student Janet (Kendrick). As Mike and Brian try to understand just how dangerous this gang and their drug actitivies can be, the gang itself sets out to kill them both.

For the most part, End of Watch is a brilliant movie. When it focuses on Brian and Mike's friendship, as well as their relationships with women, the movie soars. It has an effortless feel; the scenes and the dialogue feel authentic and natural. The movie serves as a "behind the scenes" look at police life; scenes set at the precinct with Harbour as an embittered veteran cop and America Ferrera (Ugly Betty) and Cody Horn (Magic Mike) as two policewomen on the force ring true. Admittedly, though, the dynamic between Mike and Brian and the two policewomen is a little cliche (two goof-off guys balanced with two serious and competent women). I found that this portion of the movie is really strong.

Which is why it is such a disappointment when the movie indulges in cop-drama cliches like a rivalry between Brian and Mike and the gangsters. You know, if Ayer wanted to include that but found a unique and compelling way to show it, then that would have been fine. But the scenes with the gang, which sometimes break away from Brian and Mike, are so full of gangster cliches that it is hard to enjoy. The actors chosen to play the gangsters are really bad, choosing to interpret "dangerous" as "curses a lot."

Breaking away from Brian and Mike to focus on the gang and their drug activities is a mistake. It takes away from the real-life feel of the movie. One of the best scenes is Brian and Janet's wedding, where Gabby gives a drunken and risque mini-monologue about what it's like to be a cop's wife. It's funny, it's interesting and it really develops the characters to make them feel authentic. All the scenes in Brian and Mike's patrol car are excellent too, showing friendship and history between the two men.

Performances from the lead cast are exceptionally strong. Gyllenhaal, with his boyish good looks and rascal charm, is a really strong actor and his performance as Brian emerges as one of his better ones. Pena, one of Hollywood's most dependable character actors, does outstanding work in the movie. He offers a lived-in performance, one that I hope doesn't get overlooked come awards season. The chemistry between the two guys is outstanding. Anna Kendrick turns in a strong supporting role, breathing life into a small part. Same for Natalie Martinez.

Cinematography and editing are both pretty interesting, jumping back and forth between handheld camerawork and conventional camerawork. Ayer's script and direction, as said before, is strong in some parts but weaker in others. At the end of the day, the positive points definitely outweigh whatever criticisms I have about it. It's a strong, unique movie that deserves to be seen.

As a reminder, here's my world-famous ratings system:
1. Buy it on Blu-Ray (must se ASAP)
2. Redbox the DVD (highly recommended)
3. Save it for HBO (deserves commercial-free viewing)
4. Catch it on TBS (doesn't deserve commercial-free viewing)
5. Don't touch it with a 10 foot pole (speaks for itself).

End of Watch: Redbox the DVD, for sure.

'Ek Main aur Ekk Tu' and the Evolution of the Bollywood Romantic Comedy

Romantic comedies in Bollywood have experienced a major resurrection in the past decade. While comedy and romance have always been a major part of the Bollywood tradition, there has been an upswing in quality, a change in tone and a more progressive outlook on topics like sex, family and the place of the youth in the world.

When I saw the Kareena Kapoor-Imran Khan film Ek Main aur Ekk Tu (2012), I thought it was yet another fresh, imaginative, funny film in the tradition of recent Bollywood rom-com hits like Band Baaja Baaraat (2010), Wake Up Sid (2009), Love Aaj Kal (2009), Jaane Tu Ya Jaane Na (2008), Aisha (2010), Bachna Ae Haseeno (2008), I Hate Luv Storys (2010), Jab We Met (2007), Salaam Namaste (2006) and the film that started the trend Hum Tum (2004) among a few others.

While I hesitate to call this emergence of sophisticated romantic comedies a full-fledged "Golden Age," the last 8 years or so do have all the markings of one. There is a shift towards imaginative filmmaking, nuanced scripts with imperfect but three-dimensional characters, innovative soundtracks and perfect casting. That shift in Bollywood filmmaking began I think with Hum Tum, itself a loosely adapted Indian remake of the 1989 romantic comedy classic When Harry Met Sally.

Ek Main aur Ekk Tu continues the trend set by Hum Tum, Wake Up Sid, Band Baaja Baaraat and the rest. It tells the story of two people, straitlaced architect Rahul (Imran Khan) and free-spirited hairstylist Riana (Kareena Kapoor) who happen upon each other in Las Vegas, get drunk together and wake up married. The film spans the two weeks it takes for the annulment to go through and the pair get to know each other, help each other out and become friends.

The movie takes a typical rom-com setup--an uptight guy and a Manic Pixie Dream Girl forced together by alcohol and coincidences (mostly alcohol)--and infuses it with energy, wit and richly drawn characters. Now, okay, before you start screaming JAB WE MET!!! at me, I admit there are a few similarities between this film and the earlier one.

But EMAET is sort of a wiser, more cynical version of Jab We Met. While JWM's Geet was optimistic to the point of naivete, Riana is damaged but stronger for it. She's seen the worst of the world but hasn't lost her resolve to survive against it. Kareena Kapoor plays Riana with the same energy, winking sense of humor and intelligence as she did with Geet but this time around, there's a lot of pain and suffering behind the jokes, the sarcasm, the party-girl attitude. I could easily picture Riana at 22 being the same as Geet but now she's 27 and she's experienced a whole lot. In some ways, I like EMAET more than Jab We Met for that reason.

Imran Khan plays his character with a repression that's about to burst open; he's innocent but dying to lose that preciousness and break from his strict parents' set of rules and expectations. He finds that chance with Riana but their journey isn't as straightforward as Geet and Aditya's (Shahid Kapur) was in Jab We Met. While the premise isn't exactly unique, the execution should be praised for avoiding conventions. Even the ending defies all romantic comedy traditions that came before it without being clever for the sake of being clever.

Another new direction that these Bollywood romantic comedies are going is a move towards more progressive attitudes about love, sex, family and friendships. Riana's open and liberal family is a direct contrast to Rahul's strict and buttoned up family. Riana's family reminded me a lot of Shruti Kakkar's (Anushka Sharma) family in Band Baaja Baaraat. In that film, Shruti's family had no problem that she was platonically sleeping in the same bed as her male business partner Bittoo (Ranveer Singh). Same goes for Sid's (Ranbir Kapoor) parents in Wake Up Sid, who seemed to be okay that he was living with a young woman (Konkona Sensharma).

Another way these new-age romantic comedies defy convention is the way they present their musical numbers. While they all have at least one full-fledged song and dance number, for the most part they utilize the musical montage. Even when the movies do the full-fledged song and dance number, it's on their terms. Take for instance the subtly subversive "Aunty ji" from Ek Main aur Ekk Tu:



In a more traditional movie, the big number would probably go at this point in the narrative. Post-intermission, when the hero admits to himself that he's in love with the heroine and now we're meeting her family (think "Mehndi Lagake Rakhna" or Saif/Karisma in "Mhare Hiwda Mein Naache Mor").

But there are a few interesting things about "Aunty ji." 1) The song isn't a love song between the two leads, nor does the song have any thematic relation to the movie at all; 2) the song itself is depicted as an already hit song and everyone already knows the lyrics and signature steps; 3) the song may or may not be a sly joke about how Kareena Kapoor is older than Imran Khan both in real life and in character; and 4) the song is photographed with amazingly fluid camerawork, the choreography is exciting but simple and the video is energetic and zany to match the big band Amit Trivedi-composed song.

Speaking of "bands," Band Baaja Baaraat (a weak transition, I know) is perhaps the best example of this new trend of young filmmakers taking Bollywood traditions and making them their own. The love song, "Aadha Ishq" (embedded below), is a great example of this. In a more traditional film, the song would be an full-on dream sequence but the song seamlessly cuts between Shruti's romantic fantasies and real life (Band Baaja Baaraat is nothing if not an incredible achievement in film editing). In her fantasy, she and Bittoo are happy and in love. In real life, however, Bittoo's inevitable rejection of her is written all over his face. He's uncomfortable around her but she's too blinded by puppy love to notice.



It's a brilliant setup: juxtaposing the sweet and romantic Bittoo in Shruti's dream world with the awkward and hesitant one in the real life. It isn't until Shruti experiences a truly romantic, filmi moment in real life--and Bittoo, finally seeing that look in her eyes, rejects her wordlessly--that the two worlds collide and heartbreak wins. This song, which normally would have broken the flow of the narrative, allows for the plot to advance while also giving the audience some insight into the main characters' feelings and mindset.

Both "Aunty ji" and "Aadha Ishq" take well-worn Bollywood conventions--the big dance number and the love song--and play with them to create a new form of musical storytelling, one that both fulfills expectations and defies them.

That's really what these new romantic comedies are about. The genre itself is not inherently surprising. People go see romantic comedies in order to see a typical romance play out with likable leads and some dashes of comedy. But these young filmmakers take that expectation and weave some nuanced and subversive tales without even calling attention to their own cleverness.

With Hum Tum planting the seeds all the way back in 2004, the Bollywood romantic comedy has grown and morphed into one of Bollywood's most progressive and interesting genres. Ek Main aur Ekk Tu is the latest example of a new-age romantic comedy that acknowledges Bollywood conventions but refuses to bend to it. I certainly hope the genre continues to grow so we can see how these young filmmakers can push the envelopes while working within the system.

The Most Legen--Wait for It--Dary Episodes of How I Met Your Mother (part 2)

In part one of this blog about the best episodes of How I Met Your Mother I looked at the first three seasons of the show. That was when the show was still finding its audience and not exactly the big hit it is now. Starting with season 4, the show rose in popularity and even got an Emmy nomination for Best Comedy Series.

While the show did lose some of its precocious innocence, I actually think the show is better for it. When you hit your 30s, you're not precociously innocent anymore (well, I assume so) and it would have been impossible to maintain that level of freshness. So here are the best episodes of seasons 4, 5, 6 and 7.

Season 4, Episode 12: Benefits
While almost every sitcom has done the "friends with benefits" thing, HIMYM subverted the sitcom trope during Ted and Robin's experience with it. Normally, one of them would have fallen for the other and it would lead to one of them getting hurt. But it's actually Barney who gets hurt because of his crush on Robin. Sure, Ted and Robin do experience some awkwardness but Barney is the emotional backbone of the show, smashing TVs for cathartic purposes. Marshall's plot about not wanting to go to the bathroom at work is realistic and funny and it's probably the only time I enjoyed seeing Kim Kardashian on the screen (and quoting Shakespeare!).

Season 4, Episode 13: Three Days of Snow
One thing that drew me to the show when it first aired was that it took romance and love seriously. The show wasn't afraid to have heartwarming and gooey scenes with high romantic value. Three Days of Snow is one such episode, with that ending airport scene as a major season 4 highlight. Marshall and Lily's relationship is the focus as they figure out whether to hold on to their many adorable rituals. This episode also features one of the coolest "Barney and Ted bro-ing about town" plots with their opening of Puzzles Bar. It's great stuff especially since Marshall and Robin get to have some scenes together.

Season 4, Episode 17: The Front Porch
I never realized how strong season 4 is until just now when I had to narrow the 24 episodes down to 3. There are so many classic ones. But The Front Porch takes the cake simply for all the Robin scenes in background of Ted and Lily's fight. Whether you like this episode really depends on your thoughts on Lily: meddlesome but well-intentioned or horrifically manipulative? I belong in the former camp simply because she does know what's best for everyone (especially Ted who is a danger to himself romantically). Marshall and Barney and their love for nightshirts is classic, especially with the great The Big Lebowski references. This episode is really funny (Laura Prepon as the horrible Karen is a delight) and ends with a great Ted and Robin scene.

Other season 4 highlights: The Fight, Shelter Island, As Fast As She Can, Murtaugh and Wooo!.

Season 5, Episode 15: Rabbit or Duck
This episode has one of the best group scenes in How I Met Your Mother history: the intense, almost violent debate of rabbits vs. ducks. Obviously, ducks are better, Marshall! I like when the show has these random discussions (like season 4's 50 reasons to have sex or season 2's candy euphemisms for breasts). Robin's hate-crush on Don is entertaining especially because Don is such an annoyingly charming and charmingly annoying guy. Barney's magic phone is really funny, a fun way to see him suffer the consequences of his sex schemes. Ted's desire for an arranged marriage is perfect for him, the frustrated hopeless romantic. Marshall and Lily are great when they act like his parents.

Season 5, Episode 17: Of Course
Stunt casting can be poisonous to a show. When a celebrity guest star takes over the show, leaving the core cast to play second fiddle, it can be really irritating and insulting to the audience. But Jennifer Lopez's turn as Anita in this episode is a great use of the stunt casting. She's the catalyst for the plot, sure, but she doesn't overshadow the episode. The emotional backbone of the show is the guys realizing that, yes, Robin did mourn over her relationship with Barney and that she kept it private in face of Barney parading bimbos in front of her. Marshall's new song" I said-a bang bang bangitty-bang" is so catchy and hilarious. I also liked the "Super Date" song, a reminder that this show can be sweet and satirical at the same time. And I think we can all agree that JLo is not only smoking hot but really good in this episode.

Season 5, Episode 22: Robots versus Wrestlers
A major theme of HIMYM is selling out and how sometimes it's kind of okay. Marshall takes a corporate job to support his future family. Ted becomes a professor instead of small business owner. Robin chooses her new boyfriend over her best friends (two of which are her ex-boyfriends). But this episode is about not forgetting that it's also okay to go back to your sillier, goofier side. As Ted parties with other intellectuals (including Arianna Huffington and Peter Bogdanovich), he leaves his more low-brow friends behind. But Ted can't deny the awesomeness of Robots versus Wrestlers for too long and neither can Robin. This silly episode gets some emotional weight with Lily and Marshall secretly making a plan to start a family.

Other season 5 highlights: Home Wreckers, The Sexless Innkeeper, Girls versus Suits (the 100th), Jenkins and The Playbook.

Season 6, Episode 14: Last Words
Man, it was extremely hard to choose 3 top episodes of season 6. It's my favorite season; almost every episode is a winner (episode 20, The Exploding Meatball Sub is mediocre). Last Words is another example of HIMYM's fearless decision to keep the proceedings as emotionally rich as possible as a nice balance to absurd humor. As Marshall struggles with his dad's death, Lily attempts to make peace with her disapproving mother-in-law and Robin becomes the woman who literally has everything you could possibly need in her bag. Both of those subplots are excellent. Ted and Barney trying to get Marshall to laugh is inappropriate but realistic in that sometimes you don't know what to do in these situations. This episode has some solid laughs for sure; it manages to be sad and melancholy without being completely depressing.

Season 6, Episode 15: Oh Honey
Like JLo in season 5, Katy Perry's turn in this episode is another good use of celebrity guest casting.  She has some solid scenes but she's not the main point of the episode, which is the story of Ted and Zoey's first kiss. It's romantic, it's funny, it's zany--episodes like this really make you feel like a part of the gang. One of my favorite parts of the episode: how the gang expects each other to hate whoever they hate. Also, Marshall's family getting involved in the romantic problems of Ted. Katy Perry herself is so innocently naive and beautiful, it's hard not to love her. The "who's your daddy" scene between she and Barney is terrific.

Season 6, Episode 19: Legendaddy
I always found it funny that Barney depends on daddy issues to get laid because he has a mountain of them. In this episode, we meet Jerome played by an exceptional John Lithgow. He's Barney's dad but he's not the cool cat Barney hoped him to be. Barney's transformation from sex-crazed sociopath to a fully functioning adult has been a recurring theme of the show, dating all the way back to season 3. This episode was a landmark one for the character, as he gets to work out some of his issues. The B-plot has the other characters talking about holes in their intelligence (Robin not believing in the North Pole, etc) and like always, it's always fun to see the gang riffing off each other and cracking jokes.

Other season 6 highlights: Blitzgiving, A Change of Heart, Glitter, The Perfect Cocktail and Hopeless

Season 7, Episode 3: Ducky Tie
We last saw Victoria six years ago and her return in this episode is both surprising and welcome. The episode is great because of its narrative style--Ted tries to tell the story of his and Victoria's encounter and the gang keeps getting distracted. This episode has some great running gags. While most if not all episodes are really funny, there are a few special few that just keep on piling on the jokes, the gags and the callbacks. This episode is one of them. Barney betting that he can see and/or touch Lily's breasts--it's so funny and typical. I think season 7, while it has some hiccups, is a lot stronger than some people gave it credit for during its airing.

Season 7, Episode 12: Symphony of Illumination
This episode abandons Bob Saget narrating as Older Ted in favor of Robin narrating to her imagined kids. Like Last Words and Nothing Good Happens After 2 A.M., the episode is emotionally grounded, maybe more so than usual. I thought this was a risky, bold episode but it pays off. Only a show like HIMYM could pull off a show like this; on any other sitcom, it would come off as trying too hard to be deep or a cheap attempt to get some awards attention. But Symphony of Illumination is a beautifully melancholy episode, one that works because of the audience's attachment to the characters. I could have done without the silly Marshall subplot but comic relief is necessary I guess.

Season 7, Episode 20: Trilogy Time
There have been times when I think about what I thought as a high school student about what I'd be doing in my 20s. I'd laugh because those old goals were impossibly high and I'd realize that I'm also satisfied doing what I'm doing now. That's what Trilogy Time was about--the gang was looking back to when the present was the future. It's an interesting narrative device, allowing for some hysterical imagined flash-forwards that are both ludicrous and plausible. This episode is a good example of how the show can find the nuances of being an almost adult and portray them authentically and hilariously.

Other season 7 highlights: The Drunk Train, No Pressure, History vs. Mystery, Tailgate and The Best Man.

Hope you enjoyed my list! I can't wait for the premiere tomorrow! Leave your comments below.

The Most Legen--Wait for It--Dary Episodes of How I Met Your Mother (part 1)

As How I Met Your Mother enters its 8th season--wait, let's stop to appreciate that for a second. How I Met Your Mother is entering its 8th season. It is now actually closer to its 200th episode than its 100th. HIMYM's popularity is an interesting story. For its first three seasons, it was an underdog sitcom; it was appreciated by a niche audience but always in danger of cancellation. But sometime during its 4th season, it suddenly became a superstar sitcom and its ratings has been high ever since.

Okay now we can begin. As How I Met Your Mother enters its 8th season, I think it's appropriate to look back at the show's most memorable, surprising and, yes, legendary episodes.

Season 1, Episode 10: The Pineapple Incident
The first nine episodes of How I Met Your Mother are great and special. But it wasn't until The Pineapple Incident that the show really found its groove. It was the first time the show used its now signature time-jumping narrative style to tell the story, rather than just for flashbacks. This episode also features Drunk Ted (my favorite of Ted's personas, with Pretentious Ted as a close second) and it introduces fan favorite Trudy who would later return in another classic episode Third Wheel. This episode is pretty amazing because it unfolds like a mystery, but the most curious aspect of the mystery--the origin of the pineapple--remains unsolved.

Season 1, Episode 16: Cupcake
Ted and Victoria are such a great couple that it comes as a shock when you look back and realize they only had about 4 episodes in season 1 as a couple. The last of which, Cupcake, presents a very compelling relationship problem: the threat of long distance, even more distressing since their relationship is so new and vulnerable. The evolution of their thoughts about this issue is brilliantly done, especially since its coated with Robin's hilarious jealousy, Marshall and Lily talking about their own long distance troubles and Barney's own long distance relationships (yes, that's plural because it's Barney). Marshall buying a suit in the back of a pet shop? Lily sitting in a cake and destorying a wedding dress? Typical HIMYM realistic absurdity.

Season 1, Episode 18: Nothing Good Happens After 2 A.M.
One of HIMYM's strengths is its refusal to put the characters on a pedestal. These 5 characters are seriously flawed people (with Marshall being the closest to being the perfect guy). Nothing Good is such a sad episode, with Ted making bad nighttime decisions and screwing up his friendship with Robin. Robin herself is extremely vulnerable and doesn't even know what she's doing. Whenever their A-plot is going on, the episode is extremely well-written and performed. The B-plot with Korean Elvis hangin' with Marshall, Lily and Barney is a little weak but, well, nothing good happens after 2 A.M.

Other season 1 highlights: Mary the Paralegal, Drumroll Please, The Duel, Best Prom Ever and of course the Pilot.

Season 2, Episode 4: Ted Mosby, Architect
I don't know how popular or acclaimed this episode is but I just love it. HIMYM played a very risky game by putting commitment-phobe Robin in a relationship with commitment-hungry Ted. It became even riskier since, gosh, they are an excellent couple. We saw so much of Ted pursuing Robin that it's almost refreshing to see Robin go a little crazy with jealousy when she thought Ted was with another girl. And the reveal that it was Barney the whole time? Genius. Also Marshall's law school friends talking about relationships in legalese--hysterical. At the end of the day, it is nice to see Robin appreciating that Ted is a great and loyal boyfriend by bringing him donuts (filled with jelly but she's not bragging).

Season 2, Episode 9: Slap Bet
Slap Bet will probably go down in history as HIMYM's best episode (or one of the best). And that is pretty accurate. Like all terrific episodes, it is very silly and absurd but grounded in very realistic themes. Here, secrets in a relationship--good or bad? Robin is keeping a secret about why she hates malls and Marshall and Barney have a slap bet about it. Both plots are full of very funny material (Lily as power hungry Slap Bet Commissioner is a highlight) And this episode contains probably my favorite line in the entire series. Ted: You're crazy--no wonder your fake husband moved to Hong Kong! Robin: He moved there for business!! Of course, the show throws a curveball and made Robin a teenage Canadian pop star named Robin Sparkles whose one hit "Let's Go to the Mall" led to a year of performing in a mall. It's all so funny and surprising--did anyone see that coming?

Season 2, Episode 17: Arrivederci, Fiero
Marshall and Lily's journey into adulthood has always been one of HIMYM's strongest subplots, one that started in Season 1, Episode 5's Okay Awesome and continues through today. This landmark episode showcases the origin of Marshall's beloved Fiero and how it changed each of the gang's lives. Barney sort of learned to drive (and hates the car), Marshall and Ted became best friends in the car as did Lily and Robin. The episode is also an excellent example of how the show doesn't really need a plot--a framing device and some great flashbacks can make a great episode. Marshall says Arrivederci to his Fiero, one of the first steps into the realization that growing up is both difficult and necessary. "But i would walk 500 miles and I would walk 500 miles..."

Other season 2 highlights: Brunch, Lucky Penny, Stuff, First Time in New York, Something Blue

Season 3, Episode 3: Third Wheel
Trudy's triumphant return is in the episode where Ted has a threesome. Or doesn't. Or does. Or doesn't. (I think he did.) This episode is so funny with Marshall, Lily and Barney coaching Ted on how to get a threesome without ruining it and the jokes come fast. Trudy and Rachel (played by Cougar Town's Busy Phillips before Cougar Town aired) are funny and charming so the whole setup doesn't seem too icky. Unfortunately Robin gets stuck with a lame B-plot but considering she and Ted just broke up, it seems natural that they wouldn't include her in the threesome shenanigans.

Season 3, Episode 11: The Platinum Rule
Season 3 gets a lot of flack for being rushed but it aired the year of the 2007 Writers Strike which meant it was a shortened season. This was the last episode to air before the show went on its 3 month, 1 week hiatus. And it's a perfect, classical episode of HIMYM. It puts a new spin on relationships (8 stages of relationships when you see the person every day), has immaculate editing (Barney's story, Marshall and Lily's story and Robin's story all playing out simultaneously even though happening in different years), and the writing is sharp and hysterical. This episode is a great sampling of what makes How I Met Your Mother so unique and wonderful. Great running gags, quirky supporting characters and a meaty part for Wendy the Waitress--who could ask for anything more?

Season 3, Episode 15: The Chain of Screaming
And here we are, my favorite episode of the entire series. The episode is so funny with Ted, Lily and Robin all giving Marshall un-helpful advice about how to deal with corporate screaming. Lily's sexually frustrated since Marshall is working too much (Horny Lily is one of her best personas, along with Ghetto Lily and Drunk Lily), Ted suggests an impassioned speech and Robin uses guns. Of course, this is the one arena where Barney actually knows what he's talking about and he helps Marshall survive Corporate America. Like I said before, I've always been a fan of Marshall and Lily's journey to maturity and this episode is a great example. And the stuff with Ted's new car? It's all vintage HIMYM shenanigans and craziness. This is a good ensemble episode (though Marshall and Barney get some of the best scenes like the one in the diner).

Other season 3 highlights: Miracles, Dowiesetrepla, Sandcastles in the Sand, Ten Sessions and How I Met Everyone Else

So that's it for part 1. For part 2, click here.

Films of Summer 2012 Part 3

Summer 2012 has been an interesting year, with the release of two major superhero films, both the products of mainstream hype. Plus Wes Anderson returned after almost 3 years, the 16th president battled the undead and Pixar introduced a female protagonist. I'm compiling a blog series about the best and worst of Summer 2012.

I've devised a new ratings system for the occasion and I hope it helps you out:

1. Buy it on Blu-Ray (must see ASAP)

2. Redbox the DVD (highly recommended)

3. Save it for HBO (deserves commercial-free viewing)

4. Catch it on TBS (doesn't deserve commercial-free viewing)

5. Don't touch it with a 10 foot pole (speaks for itself)

In Part 3, I'll be discussing The Dark Knight Rises, Magic Mike, Safety Not Guaranteed, Madagascar 3: Europe's Most Wanted and The Amazing Spider-man.

1. The Dark Knight Rises (Christopher Nolan)
with Christian Bale, Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt, Gary Oldman, Morgan Freeman, Marion Cotillard and Michael Caine
The thrilling conclusion to Christopher Nolan's revisionist Batman trilogy (Batman Begins, The Dark Knight) is possibly one of the most anticipated movies of the year. It definitely delivers. The cast is uniformly excellent. I was especially excited for Hathaway and Gordon-Levitt and they live up to their promise. Hathaway brings some much-needed humor to the movie while JGL brings his sensitivity. Tom Hardy makes for an oppressive, brutal villain; it was kind of cool to see Batman in some real danger for a while. My one complaint: at 165 minutes (2:45), the film drags a little towards the middle but for the most part, the movie is exciting and intense.
My rating: Buy it on Blu-Ray

2. Magic Mike (Steven Soderbergh)
with Channing Tatum, Cody Horn, Alex Pettyfer and Matthew McConaughey
Unfortunately this movie was marketed as a "girls-night-out-male nudity-fest-guilty-pleasure" so it will probably never get taken seriously as the sensible, somewhat existential comedy-drama that it is. While this movie does feature several men shakin' their groove thang, it is also a movie about not getting stuck on your way to realizing your dreams. Tatum offers a conflicted, knowing, lived-in performance (his best ever, really) as Mike. The movie also features an understated if somewhat awkward romance between he and Horn's character. But the most surprising part of the movie is that the stripper sequences have a sort of winking sense of humor and they are photographed quite well. The editing, the lighting, the terrific soundtrack really make those scenes flow naturally and it's refreshing to see a mainstream movie take male sexuality seriously as opposed to resorting to regressive gross-out humor. I guess my main problem is that Soderbergh throws in a really cliched conflict but the movie recovers perfectly with a great final sequence. Plus it's a movie where McConaughey says "all right, all right, all right, all right, all right" like 9 times.
My rating: Redbox the DVD

3. Safety Not Guaranteed (Colin Trevorrow)
with Aubrey Plaza, Mark Duplass, Karan Soni and Jake M. Johnson

It's rare to see a romantic-comedy/sci-fi mashup so when a movie like SNG comes along, it's refreshing. It's even better that this movie really delivers. And for a movie that's about time travel, it doesn't come with a gargantuan budget; it is very low key and understated. Plaza and Duplass make for a believable pair, both damaged and lonely and seeking some honest companionship. Unfortunately this movie also features New Girl's Jake Johnson and I have an irrational aversion to that actor's acting style. I could have done without the subplot with the two FBI agents. That kind of stuff seems out of place in this understated romance. I got the feeling that the writer/director got too into the whole sci-fi thing, which is fine, but doesn't every sci-fi movie have FBI people? In any case, SNG is a great little movie with a few surprises.
My rating: Redbox the DVD

4. Madagascar 3: Europe's Most Wanted (Eric Darnell, Tom McGrath, Conrad Vernon)
with the voices of Ben Stiller, Chris Rock, Jada Pinkett-Smith, David Scwimmer, Jessica Chastain, Sacha Baron Cohen and Frances McDormand
I've always been a fan of the Madagascar series. It is fun, colorful and delightfully absurd. The visual gags are spontaneous and original and the script is really clever. Major props to the character Capt. DuBois, a female (!!!) animal catcher who gets some of the biggest laughs, including a bizarre musical sequence set to Edith Piaf's "Non, je ne regrette rien" (the main theme song from Inception). Some of the major comic set pieces wear out their welcome and in the second half, there's a lot of random back story for the new characters. But all in all, I really enjoyed this 3rd entry. And, like most animated films, it really earns its 3D treatment.
My rating: Redbox the DVD

5. The Amazing Spider-Man (Marc Webb)
with Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Martin Sheen and Sally Field
The main question is: why reboot Spider-Man so soon after Spider-Man 3? Well, there's no answer except to make more money off a reliable franchise (they tried to do a movie off the lesser known Green Lantern series and that tanked). But if you're willing to look past Hollywood greed (I always am), The Amazing Spider-Man is a pretty good movie. Garfield and Stone are just as good if not better than Tobey Maguire and Kirsten Dunst. The movie has some pretty great action scenes (especially one set in a high school). The filmmakers opted for another origin story which means scenes of Peter Parker adjusting to his powers. I find that stuff boring but once you get pasr that the movie picks up pace. Ifans is a good villain, not necessarily evil but monstrously delusional and crazy. The film has great style, the visuals are sublime and more artistic than most superhero movies. The score is a little old-fashioned but in a good way. And who can resist Emma Stone and Andrew Garfield? They're totally cool.
My rating: you know what, I'm torn between Buy it on Blu-Ray and Redbox the DVD. People who know me know I'm a total blu-ray snob so I'd go for the former even though the movie isn't totally perfect..

All right kiddos. I know August is technically still summer and they are some interesting movies coming out (Jeremy Renner taking over as Jason Bourne being the highlight) so check back here in a few weeks for a potential part 4 but I'm not making any promises. Incidentally that's what the makers of Madagascar 3 said about a 4th Madagascar movie.

Films of Summer 2012 Part 2

Summer 2012 has been an interesting year, with the release of two major superhero films, both the products of mainstream hype. Plus Wes Anderson returned after almost 3 years, the 16th president battled the undead and Pixar introduced a female protagonist. I'm compiling a blog series about the best and worst of Summer 2012.

I've devised a new ratings system for the occasion and I hope it helps you out:

1. Buy it on Blu-Ray (must see ASAP)

2. Redbox the DVD (highly recommended)

3. Save it for HBO (deserves commercial-free viewing)

4. Catch it on TBS (doesn't deserve commercial-free viewing)

5. Don't touch it with a 10 foot pole (speaks for itself)

In Part 2, I'll be discussing Brave, Snow White and the Huntsman, Prometheus, Savages and People Like Us. 

1. Brave (Mark Andrews, Brenda Chapman)

with the voices of Kelly MacDonald, Emma Thompson, Billy Connolly and Julie Walters

Pixar made major headlines by introducing Princess Merida, its first female protagonist! Woo-hoo! Finally!! I mean, cowboys, cars, superheroes and bugs are all well and good but the time had come. But Brave is no different from other Pixar releases; it has a strong emotional core exploring complex relationships but balances it out with a very funny and exciting script. The movie reminded me of Finding Nemo and The Incredibles in that regard. The animation, depicting medieval Scotland, is impeccable (Merida's wild red hair itself deserves the Best Animated Feature Oscar) and the voice cast is just fantastic (special props to Thompson and MacDonald). 

My rating: Buy it on Blu-Ray

2. Snow White and the Huntsman (Rupert Sanders)

with Kristen Stewart, Chris Hemsworth, Sam Claflin, Ian McShane and Charlize Theron

Imagine an action/adventure/fantasy/romance movie with a little action, no sense of adventure, fantasy that doesn't really work and a romance so bland it's icy. Who knows why they chose Kristen Stewart to headline an action/adventure/fantasy/romance? Stewart has nothing that draws you to her character and the minimal character development don't help much. Hemsworth and Theron ham it up and try to liven up the proceedings but even they can't help much. The movie has a neat visual look but it's all so dull and grey. This movie did make a lot of money but it's easily forgettable. 

My rating: Catch it on TBS during a house-cleaning day.

3. Prometheus (Ridley Scott)
with Noomi Rapace, Michael Fassbender, Charlize Theron, Logan Marshall-Green, Idris Elba and Guy Pearce
Theron fares much better in Prometheus, a sci-fi/horror/space thriller that asks a lot of big questions and asks the viewer to answer it on his or her own. The movie, set in the same universe as the massive Alien franchise, is very scary and disturbing. The movie mixes body horror with maddening suspense; it's a movie that offers visceral scares and attempts more philosophical questions. The cast is great; Rapace and Fassbender especially offer nuanced portrayals. The music is erie and grand and the visuals are out of this world.
My rating: Buy it on Blu-Ray

4. Savages (Oliver Stone)
with Blake Lively, Aaron Johnson, Taylor Kitsch, Salma Hayek, Benicio Del Toro and John Travolta
This pulpy crime noir has a nasty sense of humor and a thirst for violence. It's as zany as it is ludicrous but it packs a powerful punch. That is in no doubt due to the cast. Everyone seems committed to the part. The story has some nice twists and turns and the tension builds up and people start acting more recklessly. Savages has a sleek, colorful look to it. The editing is crisp and the soundtrack is outstanding. Blake Lively is really building up a solid resume (her performance in The Town was sadly overlooked) and her male leads are pretty good as well. But Hayek, Del Toro and Travolta are really great, playing with their screen personas and just having a blast. If this movie has one flaw, it's that the ending is kind of a letdown in a very unusual way. While it doesn't ruin the entire film, it doesn't really make the watcher beg for repeat viewings.
My rating: Redbox the DVD

5. People Like Us (Alex Kurtzman)
with Chris Pine, Elizabeth Banks, Olivia Wilde and Michelle Pfeiffer
This sensitive family drama is a very nice film, one that offers some laughs to go with the tears. The cast is exceptional; I've never been much of a Chris Pine fan (he can sometimes be too smug or slick) but he does some solid work here. Elizabeth Banks emerges at the best performer. Her character has so many layers and she really nails all the complexities. Pfeiffer does really well also and Wilde offers some decent support. While the script is mature and very human, it does rely on the tired trope of "person with secret delays telling it" and one wishes the filmmakers had found a more natural way for the story to progress. But that ends up being a minor complaint when the movie does so many things well. The cinematography is quite splendid to look at, the score hits all the right notes and I have to mention Banks' performance again. She's the real reason to watch this movie.
My rating: Redbox the DVD


Look out for Part 3! Feel free to leave your comments below!

Films of Summer 2012 Part 1

Summer 2012 has been an interesting year, with the release of two major superhero films, both the products of mainstream hype. Plus Wes Anderson returned after almost 3 years, the 16th president battled the undead and Pixar introduced a female protagonist. I'm compiling a blog series about the best and worst of Summer 2012.

I've devised a new ratings system for the occasion and I hope it helps you out:
1. Buy it on Blu-Ray (must see ASAP)
2. Redbox the DVD (highly recommended)
3. Save it for HBO (deserves commercial-free viewing)
4. Catch it on TBS (doesn't deserve commercial-free viewing)
5. Don't touch it with a 10 foot pole (speaks for itself)


In Part 1, I'll be discussing: The Avengers, Ted, Moonrise Kingdom, To Rome with Love and Abraham Lincoln: Vampire Hunter. And here we go now!

1. The Avengers (Joss Whedon)
with Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Tom Hiddleston, Jeremy Renner, Samuel L Jackson, Clark Gregg and Cobie Smulders
This superhero epic almost should not have worked. Bringing together 4 superheroes with larger than life personas, adding in two assassins and a Shakespearean villain--it's just too much. In other hands, this film would have seemed clunky and overcrowded. But Whedon, no stranger to ensembles, brings a nice sense of humor to the film, adds a zany group dynamic and makes sure that each character from Iron Man to Hawkeye to Loki gets a decent amount of character development. This film has already broken box office records and chances are if you wanted to see it you already did. This movie is probably the most fun you'll have all summer in a movie theater--The Avengers has entertainment on the mind and it delivers.
My rating: you should definitely Buy it on Blu-Ray.

2. Ted (Seth MacFarlane)
with Mark Wahlberg, Mila Kunis and the voice of Seth MacFarlane
Fans of Family Guy and American Dad will not be disappointed. Ted is raunchy, politically incorrect, crazy but tied together with a strong emotional backbone. The film is hysterical, going from zingers to sight gags to pop culture jokes. The problem is that it's a first feature which means the sitcom plot is stretched a little thin until the film goes for an odd thriller-type finale. The cast is game and they sell their characters quite well. I especially liked Mila Kunis' refreshing portrayal of the tired "frustrated girlfriend" trope. Macfarlane, as the voice of Ted the teddy bear, is good enough but the voice is too similar to Peter Griffin.
My rating: your best bet is to Save it for HBO.

3. Moonrise Kingdom (Wes Anderson)
with Bruce Willis, Frances McDormand, Bill Murray, Edward Norton, Jason Schwartzmann, Kara Hayward, Jared Gilman and Tilda Swinton
I haven't seen many Wes Anderson movies but if they're all like Moonrise Kingdom, then I'm sure I'll love them all. Moonrise Kingdom is about preadolescents who fall in love and run away together. They're played quite convincingly by Gilman and Hayward. Their innocent but very serious romance baffles the adults around them who struggle to make sense of their own choices and their kids'. The script brims over with wit and insight, the comedy is subtle but also laugh-out-loud and the romance is treated with dignity and respect. Art direction, cinematography and editing are spectacular. Expect this one to get major awards attention in the coming months.
My rating: obviously you should Buy it on Blu-Ray

4. To Rome with Love (Woody Allen)
with Penelope Cruz, Alec Baldwin, Woody Allen, Judy Davis, Jesse Eisenberg, Alison Pill, Ellen Page, Greta Gerwig and Roberto Benigni
Woody Allen takes Rome by storm (well not really) in this frilly comedy. Allen returns to the front of the camera in this anthology film, which packs four unrelated stories all set in the Eternal City. These stories are silly but very witty. This is a fun movie, more akin to Scoop and Love and Death than more high minded fare like Vicky Cristina Barcelona or Hannah and Her Sisters. The cast is spectacular, each given good material perfectly suited to their talents. Allen goes from absurdist humor to romantic dilemmas to critiques of fame--it's vintage Allen mixed in together.
My rating: if you're a fan of Woody Allen, Redbox the DVD. If not, Save it for HBO.

5. Abraham Lincoln: Vampire Hunter (Timur Bekmambetov)
with Benjamin Walker, Mary Elizabeth Winstead, Dominic Cooper, Anthony Mackie and Rufus Sewell
I loved the premise of this movie: a historical epic mashed together with action-horror. It should have made for a deliciously silly, satisfyingly fun film but instead we get an over-serious, dead on arrival action movie that is so dull you wish you were at the business end of Lincoln's silver axe. The one saving grace is Walker, who seems to be under the impression he had been cast in Spielberg's more straightforwardly Oscar-worthy biopic (it's actually Daniel Day-Lewis in that one). The rest of the cast seems to be begging to ham it up but they're stifled by the serious tone. The action scenes are boring as anything and the script is just tedious to sit through.
My rating: Please for the love of God, Don't touch it with a 10 foot pole!!

Look out for Part 2! Leave your comments below!