RE:View: The Cabin in The Woods

*SPOILER FREE* (Which is essential for this!)

The funny thing about current horror movies - or torture porn, as they're often referred to - is the sheer emptiness of them. You pay, you sit down, you watch 90 minutes of kids getting murdered as gruesomely as possible and then you leave. There's no meaning or investment needed, and when truly thought about is a very nihilistic view of morals. Which is where The Cabin in The Woods comes in, to set the records straight and turn the horror flick on its head; but not in the ways you might think...

  Naturally, a bunch of teenagers visit a cabin and realise that all may not be what it seems, but in a sense far detached from your simple supernatural occurrences. Because in this Cabin in The Woods, lies something perhaps even darker than your average slasher tale, as these five are going to find out, at quite a cost.

The affectionate nods and references to
 the classics are a welcome sight.
 For us, anyway...

Why yes, even with that undertone, what I have just described may still sound generic, but believe me when I say this: IT IS NOT. There's this unique counter-perspective to the proceedings that remarkably puts the entire genre in a new light; a spin that melds sweetly and should certainly be kept secret until you've seen the film. Half the enjoyment of Cabin comes with the surprise of this one-of-a-kind story, which isn't even held over you up to the end: just straight up, first scene twist to get the ball rolling (albeit rolling upwards).

The deliberateness of this never feels forced, thanks to the handy work of Drew Goddard (Director/Co-Writer) and Joss Whedon (Writer), who instead throw the loop at a steady, well kept pace. Both sides of the narrative are balanced, allowing enough investment into each set of characters and worlds, despite one half of these being the morbidly optimistic villains and the other a group of familiar yet updated archetypes of teenagers.

And by updated, I mean believable. Because seriously, do you really think teenagers are that dumb to always split up? No, see these guys are smart, forward thinking kids who don't lack the common sense that apparently every other cabin-bound teen does (unless that becomes induced on them, of course...). Such maturity is then reflected with their relatively newbie cast, with Chris Hemsworth as probably the most recognisable due to his whole Thor gig. However, the true standout of these is Fran Kranz as the magnetically charming "Fool", Marty. From this side of the ride, Kranz steals the show with his stoner-yet-wisdom strewn persona, nailing all the damn-right delicious one-liners thrown his way (courtesy of Whedon, I've no doubt). This could well be his star-maker...

On the super-secret flip side, you've got an abundance of unexpected laughs. Again, the undeclared shape of The Cabin in The Woods still surprises with its multi-genre bending ingenuity. While the genuine scares remain ever scarce (sorry fear-fans, this isn't quite the scream fest you're looking for), you can expect plenty of humourous gags and set-ups that may as well have been in a straight-up comedy. Which in fact works better throughout to help detail the subtext lurking underneath the 95 minutes of pure entertainment.

The thing is with Cabin, you don't just walk out with a smile on your face; you're imparted with something overwhelming to ponder upon - How is watching people die fun? How did the genre get to the point where its main selling point was to watch human mutilation? So it takes these ideas and throws them back at the audience. Sure there are some gruesome deaths in here, but they've got weight to them: you've warmed to the character, you don't want to see them die, you feel their loss. In this sense, it isn't so much poking fun at those immoral conventions as it is ripping its stale heart out and presenting it for all to see, via a string of self-aware, mind-screwing metaness.

It may not be to everyone's taste, to be thrust upon with the truth that what you might have wanted from this film (torture porn) is ultimately not right. Though that's what makes it so good, the bluntness of this point, yet the subtlety of its delivery. Some may not even notice it, but still thoroughly love the film, whilst those who totally get it will totally get it AND thoroughly love the film.

So when The Cabin in The Woods reaches its converging third act of bizarre havoc and satisfying plot turn-arounds, and you've come to terms with the fact that this was not necessarily the film you paid for, I'd say you'll be pretty damn glad you were mislead into this soon-to-be classic genre-buster.

Change is good. But an entire overhaul of expectation? Now that's amazing.

5 Stars

ATR

         

RE:View: Journey

"Are video games art?" is a question I frequently see posed all around the web. The debate in which whether making something built for interaction is merely entertainment or an actual crafted product of creativity has raged online for a while now, with neither side quite trumping the other. But if Journey, the latest downloadable PSN title from thatgamecompany of Flower fame, is anything to go by, then the battle is substantially over. Journey is quite simply a marvel.

 You play as an unnamed robed traveller, Journeying across a desert wasteland to reach the distant mountain top and fulfill your mysterious destiny. That's it. No back-story, no cutscenes, no dialogue. You're just plopped into this dazzlingly bright world, and told to move in that direction. But it works, delightfully so. This is the kind of game where the less you know the better, so you can fully experience what happens around you as you play.

Thankfully, the back-drops in which you do this are of a very high-class level. Sun flares magnificently off the camera and illuminates the lush sands and stones for which to explore. And whilst the desert-based adventuring quickly changes to some surprising, even vaster and often unsettling climates, the visuals evolve along with it and help to truly immerse you in this odd, mysterious world.


In terms of controls, Journey is again kept bare-bones simple. Move, Fly and Shout are your three options as you navigate your traveller through the game. As you go along, you'll encounter strange creatures and tapestries in an asian-like language, that when brushed pass give you the limited ability to fly swiftly into the air to reach higher-places and glide over the terrain.

The Shout button gives you a personal insignia to broadcast and
interact with things within the world

But the greatest thing throughout Journey is the subtlety in which it takes players along the, well... Journey. As you progress, a little more is learnt about the world around you, and why the pilgrimage being undertook is being undertaken. You won't even notice it while playing, until you take a step back and realise you've been immersed within this game for the last couple hours and are absolutely with it. Naturally, the touching and ghostly score that accompanies the entire game does a lot to help accomplish this, coming out of nowhere at times with what you'd expect to hear in a big dramatic epic. The way it guides you without ever speaking a word is something to really respect in the way of both storytelling and game-making, that unfortunately is becoming less and less common in the age of the FPS and Action Orientated gaming.

And while roaming, you may notice another traveller join you on the unspoken quest. Not an NPC, but a real person, somewhere in the world playing Journey at the same time and in the same place as you. Seamlessly you are hooked up together, with no names given and no means of communication other than the Shout button, a single communication beacon to tap for a response. For me, this was what made the game truly magical: the ability to connect to another human being, watch and react to their little movements on screen, without having any preconceptions or information on who they are. Wondering around with someone like this increased the experience of Journey furthermore, because then everything just felt so real.

Companions

 We had a connection, a shared motif to play. But that's it. And so we Moved and Flew and Shouted together in a graceful harmony of what Journey really stood for. Hell, when one partner left me at a particularly dark part in the game, I was physically saddened and scared for the prospect of carrying on alone. When playing with another, there was this thrill, a sense of being that I'd never had with a game before. And then I reached the glorious final moments of the game, which were as harrowing as they were tremendous, due to me being alone and burdened with actual emotion within myself. It was madness, yet it was beautiful.

And when thinking about Journey, that seems like what it's all about: The Beauty. To give players a ride of awe and wonder with the game's presentation and experimental flow of story, to immerse them with the toppest of notch scores and brilliant execution, and then force them to feel the experience extend past the controller and screen, with the euphoria of an unseen connection whilst all these mechanics merge together to invade the mind and heart.

So when reaching those final few moments of the game, watching the credits roll and then presented once more with the start menu, I just had to stop. I had to think, to reflect, to be. It was quite a shock to have to do that at the end of a video game - I'd only ever experienced that "stare into space and absorb what just happened" moment when finishing an important book or film, but never a game. So you tell me, "Are video games art?"

If you own a PS3, if you can access the Store, and happen to have £10 free, then I believe you owe it to yourself to get Journey. As memorable as it is enjoyable (which is a seriously large amount), Journey is a modern masterpiece in gaming, and proves that you don't need guns and action to have a good time with your console. More than just a game; it's an experience, one that I doubt you'll find anywhere else for the short time it takes to finish. But of course, it's not about the destination...

A real game changer.

5 Stars

ATR

RE:View: Garfunkel and Oates - Slippery When Moist

The ukulele/guitar sporting comedy duo are back, with their third studio album, featuring all the wacky, crude and awesome things we've come to expect from the girls' music. This time releasing a full 13 tracks - some old, some new, some really new - Garfunkel and Oates aren't just talking about sex and relationships this time, bringing a whole slew of lyric bases and genre mick-takes.

1. Wow - In this exciting, fast paced ditty (lasting only 35 seconds), the two present a song that is oddly ambiguous in meaning. At first, it seems like a straightforward introduction to the new album and their upbeat, quirky style, sounding not far from a 90s cartoon theme tune. But listen properly to the lyrics and you'll notice it has a nice feel-good factor, telling you "You're really cool" in a sweet pick-you-up notion. In some ways, it seems just like a Thank-You from them for shelling out £7.99 for this digital-only download. All in all, a fresh, fun start.

2. Go Kart Racing - While this one may be based on true events, don't expect some deep, soulful Adele style song. No, because this is Garfunkel and Oates, so naturally the line after "Go kart racing" is "accidently masturbating", and the rest of the 2:04 song is spent describing this awkwardly pleasurable situation... Not one for the Grandma, but plenty of knee-slapping one-liners and an insanely catchy hook will have you repeating this at all the wrong moments. The key-change at the end is something to look forward to, and just the mere fact that this is classic chord strumming simplicity keeps it from getting too outrageous.

3. I Don't Know Who You Are -  Riki and Kate's ability to nail real world, day to day awkward situations in their lyrics really shines through in this one, because I'm sure we've all had someone come say "Hello" and not have an effing clue who they are. Again, simple chords rule the rhythm (with the addition of some chimes at times), and the pair's vocals sound really gentle, tidy and right on throughout. Ironic, considering the C-bomb gets dropped early on...

4. Handjob, Blandjob, I Don't Understand Job - The rudest, funniest and richest song on the album, as G'n'O tackle that tedious problem of how to jerk a guy off. It really is as explicit as it sounds, making no apologies for likening a penis end to a "Darth Vader Pez Despenser" and the 'nads for The Muppets' Statler and Waldorf. There's a ton of celebrity references, some of which are a little vague, while others are absolute genius ("More singled out than CHRIS HARDWICK!"). The synth-dance beats busting out in the back lend it another flavour too. A gem, but just be careful of repeating it out in public...

5. Save The Rich - Like "Sex With Ducks" from their previous album, "Save The Rich" takes a satirical poke at political issues, this time with the whole Economic Inequality deal that swept over America this last year. Based on keyboard, and with a patriotic vibe going on, the song really takes off with the blatant tongue-in-cheek lines like "Children to exploit" and "Without their 7th home, how will they make it through?". The proper recording is also a vast improvement on the ropey YouTube version they'd uploaded a while back, allowing full appreciation of the song's entirety.

6. Hey Girl in The Moonlight - A good ol' classic that first appeared on their debut album, Music Songs, this one is undeniably Garfunkel and Oates, with their awkward-moment lyrics, sweet chordal structure and in a delightfully quick fix of 1:21. Quite a defining song for the duo, which works really great if you're craving a lil' comedic motivation.

7. The Ex-Boyfriend Song - Sensational. Truly, this is just a complete comic masterpiece. 6 seconds long, but just so god damn funny. You have to hear it to believe it. Moments like this is what reminds us that Garfunkel and Oates are still entirely original.

8. Silver Lining - Another one from Music Songs, but one that definitely needs more exposure due to its brilliance. It's obvious the gals can do comedy, but with Silver Lining things sound a bit more serious and surprisingly it works rather wonderfully. Sure there are some humourous beats in there, but ultimately this is about picking yourself back up after a break-up or similar incident and feeling good about yourself. Actually quite touching, this song stands out as a cute, self-esteem boosting tune that plays beautifully on the ears.

9. I Would Never (Have Sex With You) - What I love about this track is its familiarity. Taking on a bouncy, joyful and classically 40s sound, I Would Never gives some of the cleanest (but nonetheless fun) lyrics and has an honestly jolly warmth to it.  If you were looking for an upbeat, bob-along song, then this is it.

10. Google - Kicking in to ballad mode now, with the contrast between daftly apt lyrics of Googling a potential date, and the strong flow of the very power-ballad chorus. Of course, there's a few iddy-widdy bridges that serve as nice breaks (and sound oddly like nursery rhymes) and the last line's a killer.

11.  I Would Never (Dissect a Ewe) - In a meta-esque throwback to No. 9, the girls prove their comedic ability, literally riffing off their own material in side-cracking, gut busting self-mockery. Yep, taking all the same parts from the previous tune we're now rewarded a piece about science class and dissection of animals (hell, you may even learn a thing or two). I presume this started out as a joke and then blossomed into a fully realised, awesomely laugh-tacular song, which is something no other artist could probably get away with. Enjoy, but just watch out for that "Sheep Ghost"...

12. My Apartment's Very Clean Without You - We go melodic with this piano/vocal track, which gives out the pretence of being some sort of meaningful sad song, and then makes it all ironic with the whole "I'm glad I dumped you, because you messed my place up" theme. More variation like this is always welcome, and does a decent job of rounding out the album before the final track, in a calm, sophisticated and truthfully funny way.

13. Go - Coming full circle with an identical set up to No. 1's Wow, Go does pretty much the same thing, except in an even more grander fashion. That Feel-Good factor is now amplified and set to a more Motivational pace, urging - daring - you to "Go Live Your Dreams" and is amazingly inspirational if you really listen to it. A very sugary high note to end the album, making anything that you didn't like (somehow) become forgettable in place of this diamond. Le fin.

A great album for any comedy loving fan, with a musical heart that you'll be hard pressed to find elsewhere. The only downside: could've done with a couple more songs, maybe a special "Featuring Guest Star..." one. But the comedy within its own self, even outside of the music, is a sure selling point that makes it clear that Garfunkel and Oates have a vivid staying power, and a bright, jolly future ahead.

4/5 Stars

Buy It Now On iTunes!   
              

Check Out My RE:Commendation of G'n'O

See What They Could Do On Husbands

ATR

RE:View: The Muppets

Spoiler Level: Minor

After years of minor TV movies and cameo appearances, The Muppets finally return to the big screen, and they're bringing all their charm, magic and beauty with them. Yes, despite all the worry, The Muppets come-back is a spectacular one that doesn't take itself too seriously, in true Muppets style, and delivers on almost every level.

  The story sees mega-Muppet fan brothers Walter (a little Muppety man in his own right) and Gary (Jason Segel, who also co-wrote and got this whole thing together), as they make their way to LA to see the legendary Muppets' Studios, along with Gary's long-time girlfriend, Mary (Amy Adams). But little do they know that their journey is going to involve reuniting their heroes, The Muppets to save their theatre from evil oil baron, Tex Richman (Chris Cooper).

This set-up to reintroduce the Muppets to a world from which they were staling with a humbling self-referential cheek, is what gives the story a very warm heart that hearkens back to the Henson days of Muppetery. In other hands, this could have seemed like a cheap and easy way to make another Muppets film, but in Segel (a self-proclaimed Muppet-nut himself) and director James Bobin's hands, it just works. Segel's love for the Muppets is ever present in the charming script, with some definite connections between his own fandom and the characters of Walter and Gary.

An old favourite and a new favourite.

With Walter, the team have truly struck gold, presenting one of the most likeable, relatable characters I've ever encountered. If you don't immediately fall in love with him, I think it's safe to say you have no heart. Not only that, but he's given a wealth of development despite the lime-light being shared between Kermit, Miss Piggy and everyone else. Watching Walter fulfil his destiny in becoming a Muppet is a heart-touching experience, worthy of any good Human centred story; perhaps even exceeding it in terms of emotional beauty.

Once Walter, Gary and Mary are all set up into proceedings, the film kicks into nostalgic high gear with the entrance of Kermit and his buds. Taking on a classic "We're getting the band back to together" vibe, we get to see the "Where are they now?" for the old gang, including Fozzie as a failed motel entertainer, Gonzo as a plumbing entrepreneur and Piggy as the editor of Vogue magazine. Again, the universal wit of The Muppets shines through this, giving out laughs for the kids, the adults and even a few subtle ones for the adult adults. One Liners, Set Piece Gags, Running Puns, Meta Mocking and "What's Going on In The Background There?" are all at the very forefront of the jokes, with the hits far more frequent than the 1 or 2 misses.

  The characters still feel like the ones we'd left behind, saying what you'd expect and acting as they would, resonating the Henson/Oz spirit that made them the cult-phenomenon that they are today. When they get on that stage for the "Save The Muppets Telethon Spectacular Show", everything comes flooding back and you just live in that Muppet world for those moments. The transition into a new era has gone as smooth as it could; the magic always intact - never the thought of "there's actually a bunch of dudes with their hands up some puppets behind it all". The truth is that when you see Kermit sitting on that log with his little banjo, singing "Rainbow Connection" with the same innocent earnest as he did 33 years ago, it is just pure, undeniable movie magic. Heart-String-Tugging indeed.

 Which brings me to the music, because of course, it wouldn't be the Muppets if there wasn't any giggle-a-long (and often strikingly meaningful and touching) songs. Flight of The Conchord's Bret McKenzie provides some of the greatest Musical numbers - even by Broadway standards - that you'll hear in a long time. Alongside the classic Muppet tunes and some renowned pop hits that have been "Muppetefied", McKenzie, like Segal, has embodied the old school Henson style, with the shiny, upbeat "Life's A Happy Song", the brilliant, Oscar Nominated ballad, "Man Or Muppet" and the villainous "Let's Talk About Me" rap from Chris Cooper (which comes off hilariously dastardly - hilarstardly). Tongue in cheek and gloriously Muppety, these new songs are sure to be well remembered, repeated and rejoiced. Oh, and the Conchord's style is so awesomely echoed throughout.

Ah, and the cameos, the glorious, glorious cameos. Whilst some may be missed by those less familiar with American TV and culture, those that get them will be overwhelmingly pleased. Their presence is frequent, with some well loved show-biz faces popping up in some delightfully funny places.  Believe me, one in particular was so exciting and genius that I was giddy beyond belief. And naturally, they all reappear in the during-credits "Mah Na Mah Na" theme, to much (in my head) applause.

 Sure it's got its flaws; some things don't get enough time as they deserve to truly flourish, predominantly in the relationship between Mary and Gary which feels a tad rushed and unfocused. A few Muppets, while featured, seem neglected (more Gonzo, Rizzo and Sam The Eagle please!), but it's justified with the obvious time constraints. Baddie Richman could have done with some extra motif via exposition too, but that does get cleared up in a cut section of his rap.

 But this is The Muppets: those things don't matter. We're not looking at an ultra serious movie here, after all. It's got all the elements it needs, and is fuelled by them to no end, resulting in an almost perfect rendition of The Muppets to date. And it's like Henson always said: "If it's too good, then it's not the Muppets". What Segel, Bobin and McKenzie have done is extraordinary; a true movie feat - to take something that's relevance was fading, and replenish it to audiences which will remember and love and crave, want, whistle and cry for more. One thing's for sure: THE MUPPETS ARE BACK.

The Beloved just got Reloved:

4.5/5 Stars
*Kermit Flail*

ATR

And stay posted for my upcoming review on The Muppets Original Soundtrack!

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RE:View: In Time

Time is a valuable thing, no matter how you spin it. It could be spent watching movies, much like sci-fi/action flick, In Time, starring Justin Timberlake and Amanda Seyfried. Alternatively it could be spent reading reviews, much like this one. Or even, it could be spent protesting against corporate greed, much like the recent Occupy Wall Street campaign sweeping over the world. Because if In Time doesn't soar in some aspects, it certainly makes up for it in relevancy, giving us a tale that speaks volumes of social and economic inequality in a time that reeks of the stuff.

Taking place in an undisclosed point in the future, In Time has one very central idea; time is money. People are bio-engineered to stop ageing post-25, and instead must rely on how much time there is left on their forearm's ticker until they kick the bucket. But while some of the world live in poverty (whereby absolute poverty = sure death), the upper classes coast by with a potential of immortality. But one man defies that lifestyle, after being framed for murder. And he, along with gal-pal Sylvia, will stop at nothing to tear down the rotten system and give hope to the struggling people.

When everyone is 25, who can tell between mother, wife or daughter?

 That man is Will Salas, played by none other than pop-superstar Justin Timberlake. Still fresh from his sudden change of career paths, Timberlake gives a solid performance that (while not quite a match for his smart and smooth delivery in The Social Network) proves further his place in today's Hollywood scene. After a slight weak patch in the introductory slum scenes, Timberlake comes into his own with action, romance and emotion as we see Will's journey to truly "stick it to the man", taking him on risky poker games, car chases and lots and lots of running.

Sexy Back: a predictable couple, but gorgeous none-the-less.

So it's a good job his running mate, Amanda Seyfried, is also on par, giving us the naive rich girl, Sylvia Weis, as she comes to terms with the fact her lifestyle really might be superficial. The contrast of their characters gives the narrative a neat dynamic of opposites attracting and an obvious romantic element that works, despite the predictability, while they work together as a futuristic Bonnie and Clyde/Robin Hood. Then Cillian Murphy pulls off a great show with his head TimeKeeper role, (a cop) managing to really embody a 50 year old man in a 25 year old's body, through tone and movement with his deadpan way.

The setting and ideas involved are really unique, and will keep you interested despite the numerous plot holes and continuity errors that pop up. It's good to see an entirely fresh and independent story hit our screens for once, as opposed to the wave of adaptations, reboots and true-stories recently, so kudos to writer/director Andrew Niccol. Could you just imagine, a world where time is your money? Haunting, deep and somehow eerily believable despite its ridiculousness.

Released at any other time, In Time may not have been as poignant, being seen as merely some science fiction fun with a fast pace and neat scripting. However, as mentioned, in these times of economic imbalance the film stands for a lot more, even going to the extent of a near-social commentary of a film. Whether this was pure coincidence or an intention of Niccol's (who previously wrote The Truman Show) is unknown, but it sure gives it a relatable and intelligible edge that it may have lacked otherwise.

There still remains a plethitude of minor nuances to be found, such as a weak sub-plot, loose ends that never get fully established and an ending quite unfit to the rest of the tone. A couple things get dusted off in cheap ways, which seem like a harsh rushed way of finishing for certain parts and some directions don't quite justify themselves to full extent.

In Time is, above all things, a thought-provoking piece of cinema, blending a unique sci-fi plot with real world issues into a quick and punctual movie. It's got a real sense of independence, never borrowing from an identified source too long to be noticeable (although the nods to Logan's Run, Bonnie and Clyde etc are unavoidable) and when action picks up the pulse starts racing after some subtle subdued moments of tension. Slight niggles bring the overall quality down though and its running time of 109 minutes seems a little too generous.

Nevertheless, In Time is a film certainly worthy of your time, if just for the coolness of its plot and the significance of era-specific themes.
3.5/5 Stars

ATR

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RE:View: The Big Bang Theory: Season 4

Even before coming into its fourth season, The Big Bang Theory had really hit its stride, pulling in massive ratings and marvellous reviews consistently each week. However, this obviously wasn't enough for series creator and sitcom tycoon Chuck Lorre, as Season 4 changes up the formula with an altered equation and varied results.

Should I be here?

   This change comes in the shape of Amy Farrah Fowler, the female counterpart to Sheldon's braniacal quirk of a character. At first, the flow felt broken, like she didn't really fit properly within the gang and broke up the dynamic that the guys had going on. Her lines fell flat, sounding like remade mismatches of Sheldon quotes with a boring execution, as is the fatal trap that Jim Parsons manages to never slip in to (his multiple Emmy's acting as a testament to that).

Yes I should!

My preconceptions, however, were misjudged, with Amy's character slowly beginning to grow on me episode by episode, as she broke more and more away from the "Sheldon with a Vagina" mould, carrying some more substantial plot lines on her own and mixing with the girls' crowd (Penny and Bernadette). And it is with this "Girls Crowd" that the second major change for the series comes in. As before the show has focused primarily on the boys and their misadventures in geeksville, this season we see the spotlight being shifted slightly to share the laughs with the female side of things.

Penny's Leonard issues are pondered upon, acting as the slow burner of the season arch, Bernadette deals with trying to get serious with Mummy's Boy Howard, while Raj's sister Priya turns up in the latter half of the season to mix things up with Leonard's love life. Luckily, Priya's character is meant to be disliked, at least that's the way I felt, as her stuck up approach to controlling our boy Leonard sends Penny and the newly formed Gals into a tension fuelled hate party against her - with some hilarious outcomes.

The Raj vs Howard battle surely is a season highlight

Of course, the four guys, Sheldon, Leonard, Howard and Raj, are still the central theme of the show, and still go all out in the comedy field. The gang's Justice League team-up is unmissable, with a little help from Penny-Ex Zach (who really deserves more eps!), and their quest to retrieve Sheldon's stolen World of Warcraft account from a sleezeball hacker reminds us all of what the show is really about; honest, nerdy, laugh-filled fun. Plus, the Indiana Jones homage featuring Sheldon, Wil Wheaton and a heck load of angry fan boys is just pure hilarity-ensued awesome.

Raj on the Rise

Raj is fleshed out substantially this time around, and is quickly becoming possibly my favourite character, as he tackles his girl issues with surprisingly unexpected results (especially with that series finale!). He just seems more unique from the other guys, with a USP of romance novel/movie addiction and a tendency to call out hilariously geek-cum-"home boy" phrases during card games. His character has really developed into a cute, rootable underdog of the guys, that's just crying out for some more Raj-centric episodes.

Overall, the series starts to feel more cohesive and connected, with relationships playing a more vital role than ever before, and episodes linking into each other with a more structured season story arch. For the majority of the time, the show retains its smart and sassy humour that keeps the wit intelligible and the laughs worthwhile, such as it has been loved for thus far. For any misstep in this regard, my faith is restored by a magnitude of Sheldon quotes or Howard puns, Penny put-downs or ingeniously planted pop-cult references (everyone's favourite Gorn makes an appearance).

It may have changed, but it's still going strong.

4/5 Stars.

ATR

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RE:View: The Name of The Wind

Tolkien. Lewis. Rowling. Martin. Pratchett. Undoubtedly the greatest Fantasy authors that ever lived. Well, time to add a new name to that list: Rothfuss. And don't go forgetting it, as Patrick Rothfuss' beautifully crafted first entry into a breathtaking trilogy (The Kingkiller Chronicle) teaches us that, above all things, names are important; especially one as grand as The Name of The Wind.

  From street urchin to magic prodigy, the ageless-like Kvothe has led an eventful life that he now tries to forget, hiding under the masquerade of a humble innkeeper on the very outskirts of life. But when a travelling scribe comes a-knocking, Kvothe reveals his long and winding history, stretching deep through the darkest pits of despair and the greatest acts of bravery. And so it is told how our protagonist Kvothe, the charming, red-headed young boy, seeks to discover what the name of the wind is, throughout his journey of tragedy, love, magic and heroics.

Ranging from his childhood days of travelling with the Edma Ruh entertainment troupe and hard cold nights on the grimy streets of Tarbean, to his trouble-bound days at the University and heartfelt attempts at wooing the woman he loves, Kvothe comes off as a charming, fun and complex character. And all the more for it, as this really is a character-driven story, all coming from Kvothe's point of view.

  But truly the most gripping of this world is its believability. Don't let the pretence of Fantasy fool you, as Rothfuss has put a ridiculous amount of effort into making this seem realistic. Magic is not just a thing that snaps from your fingers, but instead must be conjured through 'Bindings', which involve all matter of chemistry and alchemy. Folklore and religion, society and history; all richly interwoven throughout this most wholesome tale.

 It then kicks in with both these huge & dramatic and small & endearing, emotion-evoking moments. I was welling up and whimpering within the first 50 pages, then laughing joyfully out loud at those tiny character moments that just sit perfectly, while action had me rooting on the edge of my seat and then bubbling up with anger at one particularly irritating character. These characters seem so well-thought out and totally imaginable, painting a dainty image in my head of every single slight movement they make notated down on the page. You just feel like you're there, like you are with Kvothe, living and breathing his universe.


The pace seems to slow and lurch out toward the middle, as Kvothe settles down into his educational lodgings at The University. Harry Potter fans will feel right at home here, with a similar vibe of "school of magic" going on that I really dug. Don't be put off though, as this is a more mature, realistic and off-beat setting compared to that of HP and co. When it gets slow here, things start to descend a little - perhaps causing a worry of disinterest in the reader - but when the break of the equilibrium finally comes, it consequently hits you as hard as it hits Kvothe, luring you into this (as he says it) "false sense of security" and then shattering it within moments.

 Simply put, upon opening this book, you will be engulfed. Engulfed into a world you won't want to get away from. Engulfed so that you will want to make time for this story. You will stay up into the late hours, telling yourself "Just one more chapter". You won't stop thinking about it once you put it down. And you will be crushed when you realise it's finished. In fact, the ending comes so suddenly that it's just plain cruel, teasing you silently with the anticipation of the second, The Wise Man's Fear. Luckily for me, it came out earlier this year, so no waiting time, but for those who had to wait four years... How did you stay sane?

Buy it now. Read it ASAP. Thank me later.

5 Stars

ATR

Buy Now from Amazon:

The Name Of The Wind: The Kingkiller Chonicle: Book 1

The Sunday Supdate: 18/09/11

So... this happened:

Yep. That's me. Dancing. Ridiculously. With my Sister.
Her dance presentation evening. Roughly 50 people. Fun Pairs Competition.
Got my groove on. 4th place. Trophy.
That's just how I roll.


Back In The Saddle
Earlier today I posted my review of 30 Minutes or Less, and contrary to popular belief, I was kind of dreading it before hand. I hadn't written a review in almost 2 months, and so such anxiousness was expected. Could I write it well enough, could I be bothered, was it worth it etcetera, etcetera. In the end I did it. Just sat down, pulled my finger(s) out and got on with it. And I enjoyed it. I had a blast typing through it and weaving my words together into a sensible pattern of reading. I'm pretty happy with the finished result and hopefully you are too.

Seriously, That's All You Have To Say?
Pretty much. Come on, surely the video's worth a bunch? Just loop it or something, to kill some time. Oh and help me out by voting on the poll. Thanks. Catch ya later.
ATR

RE:View: 30 Minutes or Less

Coming from the mind behind Zombieland, we all knew 30 Minutes or Less wasn't going to be a failure. We were, perhaps, a little cautious of it though, with the trailers not dealing out a load of laughs and the plot being somewhat daft and pointless. However, these worries are thrown out straight out of the window once the film itself gets going, and while not reaching quite the high that Zombieland achieved, it's still a solid comedy worthy of your money.

    The story is - on the surface - simple; Pizza Delivery Boy, Nick (The Social Network's Jesse Eisenberg) gets kidnapped by two dim-witted, melon shooting drop-outs (Danny McBride and Nick Swardson) who, in a "brilliant" get-rich-quick plan, strap a bomb to Nick and tell him to rob a bank. He can't remove the bomb, he can't go near a police station and he's got 10 hours. Nick's got no choice but to get the money with the aid of his buddy Chet (Aziz Ansari) and escape the cops.

Intimidating, eh?

    But things get complicated with the various twists and turns, involving a Hispanic hitman, flamethrowers and a few madcap car chases and shoot-outs. The robbery itself is actually a fairly short scene, but provides some of the biggest laughs of the movie, with Eisenberg and Ansari playing the apologetic "armed" thieves down to a tee. Their chemistry works well together, and some tightly scripted dialogue ("what's your hispanic criminal name?") between the two are sweetly executed.


   On the flip-side, there's Swardson and McBride lending their stoner-type comedy to the moronic Travis and Dwayne. Thankfully, McBride hasn't been as free with the ad-libbing he's become known for (something that in my opinion dragged Your Highness down), so the consistency of humour is more fluent around their scenes, but there's still plenty of dick jokes flying around (maybe a few too many). Through their "genius" escapades of tracking the innocent bank-robbing duo, their ideas to open a brothel-cum-tanning salon is revealed, and things just refuse to go according to plan.

See, a flamethrower!

Overall, the real comedy, as I found it, came more from Ansari and Swardson's characters; the sidekicks. Ansari fires out hilarious lines left, right and centre as the confused, reluctant and warming Chet, using his ethnicity as an Indian to great effect. While Swardson is the slow, innocent follower of Dwayne, who gets caught up in this without ever properly understanding it, conveyed through his off-comments and facial expressions at his bat-crap crazy friend.


For its short running time of merely 83 minutes, 30 Minutes or Less hardly lets up on the pace, thundering this sense of urgency all the way through, making the third act a triumphant culmination of craziness and comedy. The abruptness of the ending, though slightly unexpected, comes just at the right time and finishes with the same sort of tone that the past hour and a quarter has laid down.

Director Ruben Fleischer may not have matched his Zombie fuelled debut in terms of style or physical comedy, but makes up for it in way of a more propelled plot and neater dialogue funnies. His well assembled cast pull together with each of their respective characters to make them what they are, Eisenberg in particular excelling at turning an unlikable loser into an unlikely hero audiences can root for (as is his way...). The plot's silly and unbelievable (although shockingly partly true), and doesn't always realistically add up, but makes for good popcorn viewing and some unpredictable laughs.  The theme of making something of your life and not sitting round like a loser until you've get ten hours to live, isn't at the forefront of the movie's objectives, but can linger in your mind in retrospect, which is a clever touch to an otherwise refreshingly bouncy film with a pinch of a dark undertone.

4/5 Stars.
   
ATR

And keep your ears sharp for the possible Social Network reference!

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RE:View: Captain America: The First Avenger

As the final Marvel piece before next year's The Avengers, a lot was riding on the Cap to bring home the bacon and deliver on a solid origin story of America's mightiest hero, while keeping in mind that behind the Super Soldier physique lies a simple kid from Brooklyn with a big heart. Not only does it succeed in this, but it leaps ahead in terms of character driven narratives vs certain other comic book movies to date.

   So it's 1942 and Steve Rodgers (Chris Evans) is this puny, 90lb kid from Brooklyn NY, who just can't seem to get accepted into the army - after desperately trying 5 times - despite his golden spirit. But when a government scientist, Abraham Erksine (Stanley Tucci) offers him a chance to be more than just a soldier via a new serum, Steve leaps into action and becomes America's first Super Soldier, bringing bulk, brains and bravery like no over to face Hitler and his Nazi hoards. But the evil Johann Schmidt (Hugo Weaving) - or Red Skull - and his Nazi research team, HYDRA, are using an unseen technology capable of great destruction, and could tip the tide of the war in Germany's favour, unless the Cap and The Howling Commandos can stop him.

RE:View: iBoy

iBoy is a short novel by acclaimed young-adult author, Kevin Brooks. The premise is exactly what the title suggests; a teenage boy is granted the powers of an iPhone after an "accident" embedded one of Apple's popular mobile device into his brain. The boy, Tom Harvey, must now work out his powers (including zapping dudes, hacking into phones and surfing the web through his mind, all while keeping up an impenetrable electrical skin) and use them to right the wrongs of his gritty London council estate. But he'll soon learn that his powers might just be a curse rather than a blessing...

    It's a fun idea that in the wrong hands could end up being a little childish or even camp, but luckily Brooks keeps some very adult themes running through, such as gang violence, drugs and rape. I for one was certainly not expecting this level of grittiness when I first picked up the book, and have to say I was not quite ready for the many f-bombs that started dropping. Plus there is a sense of good and evil throughout that questions our hero's morals as he fights not only the gangs, but himself for his love, Lucy.

  iBoy feels like a very internal story about the main character, Tom/iBoy, as he struggles to cope with his abilities in the dangerous and violent world just outside his flat. As a first person novel, it delves deep into the protagonist's feelings and emotions, making for some emotive reading outside of the few action sequences. And the structure as a whole takes a unique turn with chapters listed in binary code (10011, 10100 etc) and a variety of relevant quotes at the start of each chapter, often involving gangs, technology or feelings.

    At times it can be light hearted with strains of humour and pop-culture references (Spider-Man gets mentioned more that a few times), and then take a heavy, darker tone as iBoy attempts to take down the gang underworld. In between this there's a lot of filler that at times doesn't seem particularly productive to the overall narrative, but is still easy page-turning fodder.

     But when the story hits climax point, things get incredibly tense and will have you on the edge of your seat (despite the near-twist that borders on cheesy). Once its done however, I doubt it'll stick in your mind that long and isn't exactly what I'd call re-read material, but it works as a nice little hero-complex story to wind down with. I'm not sure whether it would've worked out better as a graphic novel of some sort, due to its firm "superhero origin story" roots, but that's an argument for another day. For now, I'll just accept it as a decent emotive story about love, fear, good and evil, that thankfully isn't what the cover might suggest.

6.5/10

He Said She Said

Now, if you don't mind, I'd like to cast your mind back to a couple of Sundays ago when I posted that Supdate including that The Hobbit video. Well, also mentioned in that post were the guys over at hesaidshesaidfm.com, and I promised that I'd do a proper feature on them. Albeit a little overdue, I keep my promises, so this post goes out to them.

He Said She Said is essentially a movie review site; but with a difference. Run by UK couple, Helen and James, the website gives 2 separate reviews of one movie. One by him and one by her, hence He Said She Said. This unique style effectively gives you two opinions, which can not only make their reviews more reliable, but also gives you a taste of different sides to a film. He may love it, while She may hate it, and if you know you're like one or the other you can see what you're likely to make of the movies.

This was when I met James at Kapow! Don't worry, he's not that blue in real life. I think.

They keep their opinions short and sweet, and that's what I like about them. A quick, but crucially detailed, review that I can read just before I decide what to see. Plus, the layouts are slick and easy to read, incorporating a trailer, cast & director list and even the IMDb link for the film. Then, once they've each said their piece and given it a personal rating out of 5, the scores are combined and a short "They Said" section is added, detailing the overall verdict.

  If this sounds awesome to you (and why wouldn't it?) then I cannot urge you enough to visit hesaidshesaidfm.com right now to check out all the movie goodness. Or watch a couple of their daily YouTube videos, where they talk about all the film stuff you'd ever care to know, among other topical things. There's even Twitter too! Plus, I'll likely post a link on my RE:Views to their reviews, as I have been already.

Fun Fact - Helen watched the Back To The Future trilogy at nearly a frame-by-frame rate for her Media and Film Studies degree! Epic!