Trouble Thinking

June 14, 2012

Red Letter Media Talks About Prometheus

Filed under: Movies — Tags: , , — Durandal @ 4:29 pm

Oh also, this is pretty funny.

They liked a lot more than me in their full review, and do correctly state that yeah compared to basically a lot of films, this was wonderful and shouldn’t be getting that much scorn… but I do like the giant list of little gripes.

Prometheus: Pretty, But Empty.

Filed under: Movies — Tags: , , , , , , — Durandal @ 3:22 pm

So this is going to be pretty spoiler-y if you care about that. But I want to say right now: you shouldn’t, because there’s nothing about Prometheus to actually spoil.

So I’ve gone over this a lot since I saw the movie Saturday, and I think I’ve boiled down why I really didn’t find it that enjoyable. First and foremost is that I went in with pretty high expectations. I watched Alien the night before, and I was really excited to see another tight, interesting sci-fi film that maybe expanded upon the intriguing mysteries of Alien a little while focusing a bit more on exploration than on sheer body-horror. For all that Alien is remembered as a “slasher movie in space”, it was a much more tightly focused and interesting exploration of a strange new landscape and the dangers it contains than any of the more bombastic sci-fi that has come after. The visual effects supervisor of the movie “Moon” actually has a great little bit on why the Alien script is so well-done.  Prometheus is badly done in equal measure to how excellently Alien was crafted.

Before I get into just non-stop griping, I will say that Ridley Scott is a master of visuals and cinematography. He’s capable of making every single shot look amazing, as well as creating a surprisingly believable futuristic world (besides the spaceship having a fucking rec room and basketball court NO no griping). Beyond a few silly “transparent things with holo-graphs” and “generally using holograms just for the fuck of it” that so plagues modern movie SF, he sticks to believably chunky surroundings and very pretty but functional-looking space-suits. He also uses color in a way I don’t actually have the vocabulary to describe properly. He doesn’t just slap a filter over a scene, he makes sure that light sources line up in exactly the necessary way. So yeah, he’s great! The guy who is not great is the script writer, Damon Lindelof, the same dude who did LOST. And Ridley Scott for thinking any of the script was good and then filming it.

There are multiple lengthy and funny discussions of the exact nature of the many small terrible bits of the script, like how they take their helmets off maybe an hour into their expedition, even though it makes nothing simpler. These are all great, and you should read them. My problem with the film can be summed up quicker, though: it did not matter. No individual mattered, no event mattered, and no theme mattered. Three examples stand out. Spoilers, obviously. The first is Extreme X-Games Archaeologist. Boyfriend/Husband/whatever to the female lead. He gets poisoned with black goo by David the android for… well for no real reason. You could invent a clever reason, maybe, but that would be all on you. Following this poisoning, he’s burnt alive by a flamethrower in order to protect ship quarantine. Following that absolutely nothing and no one ever references, mentions, or as far as I can tell thinks about him. Including his significant other. I’m not the best person, but should my significant other get cooked alive in front of me, I would like to think that my thoughts will occasionally turn to the trauma of that event. Following the cookery, the female lead is on a surgery table blah blah Terrifying Demon Pregnancy! So she cuts it out in a well acted but intensely silly/gory sequence, and heads back to the rest of the ship. No one mentions that again. She occasionally holds her lasered open abdomen as she makes flying jumps. At one point, two crew members are trapped in the cave system thing that the team is exploring. A chuckle is had, and they are told to stay there for the night. Obviously they die. No one seems super perturbed about this afterward. When one of the dead men comes back as a zombie, he murders a half dozen nameless, faceless crew members. The captain roasts him back to death. None of that is ever mentioned again, as why would anyone ever bring up what has to be the most terrifying thing ever to happened to them?

The little stuff makes the movie annoying, but it’s that schizophrenic tapestry that really kills it. I was hoping for more a “Rendevous with Rama” vibe, exploration of the vast unknowable, trying to figure out as much as you can before realizing you’ll never get it all. A contrast with the scared truckers of Alien, but with hubris comes the fall and oh noooo they didn’t realize X would Y or whatever. They completely ditch that, and make the scientific exploration worse than the average sci-fi original movie about ice volcanoes. In place of that, they have many more gory scenes of carnage, none of which actually lead anywhere. No one reacts, no one even flinches. So what if half the crew was just ripped in half? We didn’t know them, and the captain doesn’t seem to give a shit! So what if at the end the captain and Nameless Crewmen A and B sacrifice themselves? We never got to know them, and they don’t have a chance to be humanized at any point in a two goddamn hour movie. You could cut scenes at random without altering the flow of the film at all. Almost all of the characters could be ditched, and you’d never notice.

The ostensible reason for the pacing and plotting issues is that this movie is concerned not with lowly things, but with high and interesting questions about life, the universe, and everything. The only issue is that, like LOST before it, the movie seems to believe that raising those questions is exactly as thought-provoking as attempting to answer them. It is not. “Why are we here?” is not the end of you philosophical discussion. And the annoying bit is that if it focused more on the actual small scale human element it would probably do a better job of conveying interesting answers! Alien wasn’t great about characters, but it had many little moments of characterization, and the decisions made by crew members reflected their personalities well. In “Alien”, the lowest man on the totem pole mouths “the money” to his more charming friend, so they can see if it’s possible to upgrade to full shares. We get an idea of the chain of command, of the interpersonal style and conflicts of the crew, and of the overarching corporatism that will ultimately kill most of the people on board. In “Prometheus” a man angrily states “I’m only in this for the money!” at someone saying hello, as it is the first time they’ve met. Almost characters show evidence of interpersonal relationships and most characters lack a discernible motive for any of their actions.

Jeez, that was longer than I meant it to be. Basically, this is up there with Inception and Avatar as a big, beautiful sci-fi movie that so focuses itself on “big themes” that it forgets how little those matter when your characters are disposable cardboard and the script is just egregiously bad.

October 3, 2011

La Belle et le Petit Prince

Filed under: Interesting Things, Movies — Katherine Barclay @ 8:12 am

Now, first of all, let me start this off by saying that I love Beauty and the Beast. It’s always been one of my favourite Disney movies, and is probably going to remain one for a good long time. The characters are lovely, the music (both songs and background variety) is amazing and vibrant, the Beast’s animation team and Robby Benson do an astounding job of making him a truly compelling character. I even like the annoying kid character, and they usually drive me nuts.


Well, I was watching Paw’s review of it the other day, and that inspired me to watch the movie again for the first time in years, and I noticed something that’s just completely shaken my entire concept of the Disney classic. It happens early on, and so fortunately doesn’t require me to summarize the entire film in order to get there. For the benefit of those of you who either have managed to live your entire lives without seeing the movie or, more likely, just don’t remember the specifics of a movie you haven’t seen since you were kids, I’ll let Wikipedia cover the necessary basics:

An enchantress disguised as an old beggar woman offers a young prince a rose in exchange for a night’s shelter. When he turns her away, she punishes him by transforming him into an uglyBeast and turning his servants into furniture and other household items. She gives him a magic mirror that will enable him to view faraway events, and she gives him the rose, which will bloom until his twenty-first birthday. He must love and be loved in return before all the rose’s petals have fallen off, or he will remain a Beast forever.

Ten years later, a young, beautiful woman known as Belle comes along …

And the story continues, la la la. Poor inventor’s father gets in trouble, Belle rescues him, Stockholm Syndrome sets in and is in turn replaced by the afore-required true love. We have conflict, and pouffy gold dresses, and the Mob Song which remains one of my favourite Disney songs of all time, and we all go home happy.

There’s just one little problem, and it mostly has to do with math. (more…)

July 25, 2011

Captain America: More Like Captain Amer I Can… be a good movie.

Filed under: Movies — Tags: , , , , , — Durandal @ 12:03 pm

Look I apologize and I’ll understand if you want to leave right now. But before you go: please watch Captain America. It’s really quite a decent flick.

So I guess all the Marvel comics movies can now be separated into “Avengers” and “Not Avengers”. The Avengers movies seem to have been designated the flagship of the Marvel movie universe, with Iron Man as the standard-bearer because well Robert Downy Junior is adorable. Captain America is the first Marvel movie that gives Iron Man a run for his vast fortune. Wheras Thor was a very fun film with a decent backbone and an excellent portrayal of Loki, and X-Men: First Class was an interesting premise with an amazing portrayal of Magneto, Captain America is simply great.

What has cemented Captain America as my favorite of the recent comic book movies is that it’s the only one that uses the by now standard retelling of the origin story for something worthwhile. Here’s Captain America’s origin from the 40’s comics:

That Nazi Saboteur obviously doesnt' really understand experimental procedure. I mean it's not just a series of tests that ends with the last subject but whatever.

Hunh, I hadn’t noticed that gaining intelligence was supposed to be a part of it until just now. Anyways, that characterization you see? That’s about how much everyone got. Dr. Erskine was a name that kind of sounded like Einstein, and Captain America was a prototype superman who immediately leaps into the war to turn the tide. It’s succinct and punchy but you know, not really a “story”. Most superhero origins are similarly constrained, and the question becomes one of working with them in a way that introduces newcomers to the story without boring the piss out of the stalwart fans you’re depending on for your base audience.

“Captain America: The First Avenger” brilliantly expounds on the origin, giving a voice and a reason to Dr. Erskine and allowing him to becoming more of a driving force than his one-note existence in the comics allowed. It also makes Captain America something more than the Charles Atlas boy.  Dr. Erskine is introduced as a German ex-pat, a moral man once forced by the Nazis to put his mind to work for evil. That right there is something: the very first German Steve Rogers meets is from Queens. He couldn’t become Captain America without being a decent enough human being to trust that a person isn’t defined solely by nationality. In addition, Erskine himself has a scene where he’s put in stark relief to Nazi Super Scientists Armin Zola and the Red Skull, who pursue science without consideration for safety or decency due to cowardice and self-absorption respectively.

Through the characterization of Erskine, the origin of Captain America becomes less about having awesome steroids and more about the relationship between power and the people who wield it. I mean Erskine specifically mentions that having seen his work corrupted by the Nazis, he’s looking for a man who is weak enough to know that power has to be used wisely instead of taken for granted.

It’s not exactly the deepest philosophy, but it’s trying. Iron Man, for all that I love it, was almost sometimes about taking power for granted, and then mostly was about how robot suits are fucking awesome (another philosophical point I wholly endorse). More importantly, it managed to do this origin without being bone-crushingly boring for someone who already knew the dance steps.

From Marvel.Com! If you didn't notice.

The second piece of Captain America that really made it click for me was that there was a solid reasoning behind the plotting that just isn’t there in many movies, particularly big superhero action flicks. Captain America moved from setting to setting only when it could explain exactly why it was doing so. Nothing happened simply because the principal characters willed it so. Many superhero movies provide motivation and setting for hero and villain, and then in the space of a week they each Origin Story themselves, and they meet at regular intervals for an entire arc’s worth of nemisising. Captain America only allows the hero and villain to meet when a meeting makes sense within the story context. Settings aren’t simply window dressing for action sequences, they’re stages on a journey from Steve Rogers the wimp to Captain America the savior of the US of A. If you took any sequence out of order, it wouldn’t make sense. I can’t say the same thing for many action films.

Also, for god’s sake, things took time. The one silliest part of Thor was that the entire thing took place over the span of a week. Captain America’s personal revelations take place over the course of a war, and his chaste love interest doesn’t fall head over heels for him in a during the arduous trek from Monday to Wednesday. Although the montage sequences went slightly longer than I might have liked, they at least said in bold letters: TIME PASSED AND THINGS CHANGED AS THEY DO…. rather than relying on our idea that yeah it seems right that Thor should learn humility by the end so I guess he does.

I think what provided this backbone was in large part the wartime setting. This movie felt a bit like the propaganda flicks from the 40’s, where providing an accurate picture of exactly where and when the attack was happening and who was flanking who was all part of the wartime cheerleading.

Anyways, go see this movie. It’s the best of the Marvel stuff, and now my personal favorite of the comic films I’ve seen.

June 2, 2011

Green Lantern Tie-In ARG Actually Helps Science

Filed under: Comics, Movies, Science — Tags: , , , , , , — Durandal @ 11:40 am

So this is pretty neat. There’s a Green Lantern Alternate Reality Game, which means “shitty game that people think is interesting because people pretend it isn’t a game”,

Normally these amount to people finding snippits of a story that’s some sort of prologue or side-story to whatever thing is being advertised via some sort of puzzle-solving.

For the Green Lantern movie, they’ve been taking out ads from “amateur astronomers” who have noticed something strange and want access to a telescope to figure out what it is. Then, they got access, and now you can go to this nifty little site and help Dr. Amanda Waller find green rings in space. Wiiiink. But the cool part is that apparently this is just a reskin of Galaxy Zoo, a program that’s already produced very useful data simply by asking normal people to help classify the ridiculous number of objects we’ve seen by giving an idea of their shape and any identifying marks. It turns out that a green ring in space is a sign of a recently exploding star. Other sites talking about the ARG have said it was a sign of one being born, but I can’t find anything stating that from a decent source. I think they’re just confusing the fact that star death leads reasonably directly to star birth. Anyway, by taking part in this ARG people have been actually assisting scientists studying the galaxy sift through their data.

Apparently the Spitzer telescope, the one whose data you’re poking through when you play this thing, is notable for being uniquely able to see through galactic dust clouds:

The new Spitzer picture provides a detailed snapshot of this universal phenomenon. By imaging Henize 206 in the infrared, Spitzer was able to see through blankets of dust that dominate visible light views. The resulting false-color image shows embedded young stars as bright white spots, and surrounding gas and dust in blue, green and red. Also revealed is a ring of gas, colored green, which is the wake of the ancient supernova’s explosion.

“Before Spitzer, we were only seeing tantalizing hints of the newborn stars peeking through shrouds of dust,” said Gorjian.

So this is the first ARG I can think of that actually did something beneficial. More sci-fi related films should do this sort of thing. I think it’s neat! It is a cool idea even if Amanda Waller is totally not a scientist. She’s just a badass.

Yelling at Batman so hard he's starting to reconsider this whole thing

March 21, 2011

Blinky: Sad, Creepy Sci-Fi Short

Filed under: Movies — Tags: , , , , — Durandal @ 7:15 pm

Hey, so this is a cool thing I just got shown today:

It’s about 12 minutes, and really solidly well done. Very classic sort of sci-fi, really nice understated special effects work.

I recommend watching it fullscreen, so as to feel most creeped out by that robot’s face.

January 3, 2011

Harry S. Plinkett Reviews Revenge of the Sith!

Filed under: Movies — Tags: , , — Durandal @ 11:45 am

So, the Plinkett Review of Star Wars Episode 3: Revenge of the Sith is up!

What’s that? No idea what I’m talking about? God. New Year, new I’ve always been disappointed in you. The Plinkett Reviews are incredibly long, detailed, and hilarious reviews of the prequel Star Wars trilogies, as well as the Next Generation Star Trek movies. He also did a short one of Avatar. And when I say long, I mean it. The newest one clocks in at 110 minutes, or longer than the last actual movie I saw.

So who in their right minds would dedicate that much time to watching a movie review? Well, first of all you need to understand that the prequel trilogy is a slap in the face from which my dignity will never recover. Seeing the movies tarred and feathered for a grand total of about 5 hours is only barely the recompense I desire.

The other reason is that the reviews comprise a reasonably detailed lesson in film studies. By taking the time to piece together every tiny little thing the prequel trilogy did wrong, the Plinkett reviews give you some idea of what a movie needs in order to have some chance of being good. For instance, from the Episode 1 review I learned that it is traditional to have “a protagonist.” They’re also really, really funny if you’re into complaining about things.

Good stuff, give it a watch. Except Chris, Chris you can’t watch this it’s too good for you.

I should note that it’s totally not safe for work due to some um… well, you should see for yourself. At home!

October 26, 2010

Television: Teacher, Mother…Secret Lover

Filed under: Movies, TV — Mrs. Orange @ 3:45 pm

I’ve always considered myself supremely inept at learning different languages. Five years of French, and all I really came away with is “voulez-vous coucher avec moi ce soir?” (and so far, no takers), but I now realize that I have been looking at my incompetence the wrong way: in fact, I am quite fluent in another language—the language of pop culture.

Pop culture really must be its own language, or at the very least, it’s own code; we apply them to certain situations depending on who we’re talking to, and thus assign them meaning based on context. Now having majored in Linguistics, I’m well aware that no one gives a damn about what I have to say about language, but I’m just going to throw one term out there: code-switching. You know when bilingual people will use both languages seamlessly in the same sentence? Yeah, it’s like that.

In the past, I have often half-jokingly lamented that everything I say is just an amalgam of television and movie references, but now I believe that excessive referencing is a viable means of expression. We all have a cache of quotes, be they from television, movies, songs, or books, which we use to communicate with our peers. There are some that have even entered into the collective subconscious (“Luke, I am your father” anyone?), but quoting tends to be more personal and obscure than that. Quoting marks you as a member of a group or serves as a means of reaching out to a new one—I know I’m at a family reunion when Seinfeld lines are thrown around more than original thoughts, and several friendships have been strengthened with a well-placed Arrested Development quote-off.

So you can look at quotations the same way you look at idioms; they are really only understandable to people who speak the “language.” If you try to look at them literally, you are bound to end up in a world of confusion and hyperbolic sadness. When we code-switch between English (or whatever) and pop culture, we are simply looking for other people that understand both codes and are therefore able to fully appreciate the entire meaning of our utterance. If they don’t, it’s akin to using a big word that no one around you knows the meaning of—people are confused and you look like kind of a douche. And—most of the time—we want to avoid that.

We remember lines of the things we enjoy because we enjoyed the experience of watching it, and we quote things we enjoy to see if people have shared that experience. If you quote The Big Lebowski, for example, to a group of strangers, and someone responds to you with, “The Dude abides,” then you know that at some point in each of your histories, you spent two hours the exact same way. You instantly have a shared history and culture. And isn’t that what language is all about?

August 16, 2010


So I’ve been hearing a lot of talk about this young man Scott Pilgrim recently.

He’s a man of many talents! He plays bass, fights better than anyone else in the entire province, and stars in his own comic, game, and movie!

Scott Pilgrim’s 3 main things:


Is first because this is the only one you and your friends will bother with because you are so LAZY.

It is a movie! It stars young Michael Cera of tremulousness fame as the titular Scott Pilgrim. It is directed by Edgar Wright, of Spaced, Shaun of the Dead, and Hot Fuzz fame.

The movie is fast-paced, exciting, visually astonishing, creative, well-edited, well acted and straight-up balls to the wall awesome considered as a whole.

Scott PilgrimRock out with your Scott out is a boy who wants to date this girl Ramona, but because her evil exes have formed a League, he’s bound by common law to defeat each of them in battle. He’s a nice guy, sort of. He’s oblivious, driven (sometimes), fun-loving, self-absorbed, naive, and easily infatuated. He’s also the protagonist!

Sex Bob-Omb Is Scott’s band, composed of two of his friends from high school, Kim PinesKim possible! and Stephen StillsThe talent (the talent). Kim and Scott dated once, he’s pretty sure everything’s cool now and she’s pretty sure she’d like him to die painfully. Stephen Stills is just concerned that Scott’s girl drama will cockblock the rock. It’s cool though, the band sucks anyway.

Knives ChauKnives to meet you! is Scott’s new girlfriend, and therefore rebound. She is also a 17 year-old Catholic schoolgirl, which says a lot about Scott. She is hopelessly in love with him, in spite of that being such a terrible idea.

Ramona Flowers
Ramooooonaaa rah-mo-naaaa is Scott’s new new girlfriend. Literally the girl of his dreams (she takes a shortcut through them to make deliveries on time), she is also one of the mystical Americans, badass, stylish, interesting, mysterious, and maybe just a bit fickle. She agrees to date Scott, but there’s a catch: in order to date Ramona, Scott must defeat…

The League of Evil Exes, who control the past and future of Ramona’s love life. There are seven of them, each more deadly and douchey than the last. ToddToooooddddd, for instance, is a vegan. Possessed of the telekinetic/telepathic powers imbued in all vegans at Vegan Academy, he’s a serious opponent for our hero!

The movie is spectacularly fun. It’s the best example of inserting cartoon aesthetics into real life that I’ve ever seen. It is literally a comic come to life, and the fact that sound effects appear in onomontopoeia on the screen is only part of that, it’s an aesthetic that suffuses the whole movie. It’s also a video game come to life, as evidenced by the “Vs” and fight voiceover that happens whenever a fight breaks out.

Scott Pilgrim lives in a world viewed through the lens of his childhood obsessions. Luckily, it seems that everyone else does too. There is, for instance, a complete lack of shock displayed by bystanders when defeated enemies turn into piles of Canadian coins.

The movie manages to one-up the book in some cases as well. Whereas the musical elements of the comic were suggested, in the movie they’re vibrantly alive. For instance, the “Bass Battle” between Scott and Todd becomes significantly more interesting when you can hear which of them is the better man. The bands floating through the story are all given a chance to show off their unique sounds, sucking in a variety of interesting ways. The opening of the film is set to Sex Bob-Omb practicing the incomprehensible, loud, poorly written, but very fun “Launchpad McQuack (working title)” in Stephen Still’s shitty apartment, and it sets the pace of the film. Some of the later fights are massively enhanced by the addition of a soundtrack, giving them an even greater sense of manic intensity.

Speaking of fights: the fights in this movie are amazing. They manage to incorporate cartoonish sensibility, top-notch martial art choreography, interesting gimmicks, a great sound-track, and a lot of humor each time. After the first fight, which included a bollywood nod, fireballs, Super Street Fighter 2 combos and reversals, and hot demon hipster chicks, I knew this movie was going to keep my interest.

You might be thinking in your tiny, tiny little brains “But wait, Troublethinking, I’m no ‘gamer’, I’m no ‘hep cat’, I’m not ‘pathologically Canadian’. How in the world will I understand this film, how in the world could I enjoy it?” Well, first of all: seven fucking awesome fights, and a lot of humorousness in between should be enough, you jerk. But, magnanimous that Troublethinking is, we brought a “test case” to see it: 60 years old, and as cool as the surface of the sun. He loved it simply for the creativity of presentation, despite knowing barely anything about the cultural touchstones the movie refers to with it’s visuals and sound. The point is: this is a girl-meets-boy story with a bunch of sweet fights, you don’t need a degree in 20-something to get what’s happening.

Go out and see this movie, you jerks. You waited until Shaun of the Dead and Hot Fuzz were out of the theaters and now everyone knows you suck, this is your chance to make good.


Is a comic book. Well, it’s more of a sort of Manga, the Japanese small fat ones you see in huge rows at book stores. Also known as “the only type of comic book sold to people under 40”. The chain of events in the book is basically the same as in the movie, but decompressed and given some room to breathe. The intensity is lowered from a fever pitch to a pleasant clip with some moments of introspective discussion. It delves much more deeply into the pasts and emotional conditions of both Scott and those around him, and characters are developed more thoroughly. Though it lacks the sheer impact of the big-screen, the fighting is pretty awesomely presented and similarly hilarious.

The whole thing could be seen as a parody of love-story comics, and genre conventions, but it doesn’t really require a steady understanding of the form to enjoy. It’s a solid story about love, growing up, being useless, and being awesome.

There are six books total in the series:
Vol 1: Scott Pilgrim’s Precious Little Life
Vol 2: Scott Pilgrim Vs. The World
Vol 3: Scott Pilgrim & The Infinite Sadness
Vol 4: Scott Pilgrim Gets It Together
Vol 5: Scott Pilgrim Vs. The Universe
Vol 6: Scott Pilgrim’s Finest Hour

All of them are pretty sweet, and the nice part is they only cost $7 a pop. That is about as much as a lunch, a bad lunch.

Scott Pilgrim Vs. The World: The Movie: The Game


Scott Pilgrim also has a pretty awesome game out right now, coinciding with the movie. An even faster paced retelling of the story, the game focuses on the fighting first and foremost, the fanservice second and aftmost, and the rest is just gravy. It plays like old-school brawlers (The Teenage Mutant Ninja Turtle games are my reference points, but there are literally dozens of these sort of games for NES/SNES and other older systems). Now, for those of you who have no clue what the hell that means:

You and your friends each pick a character from 4 choices. Then, you walk from left to right. Sometimes, people jump out and try to beat you up. By tapping buttons for attack/defense/special at the right time, you beat the shit out of these people in style, and win the adoration of millions.
The Game!

It’s a lot of fun with friends, and everyone should give it a go. Plus, look at how pretty that is! You may remember those sprites from the cast list, they’re by Paul Robertson (WARNING: Not Safe For Work). Roberston is a Melbournean artist who makes truly amazing stuff with pixels.

The game has gotten a ton of praise from all corners, with reviewers generally agreeing that it’s a spectacular example of what modern sensibility can do with older game styles.

The game is only $15, the cost of an okay dinner! Split it between your roommates and let them play it with you. Right now it’s been released on the Playstation 3, on their “Playstation Network” downloadable games service. It will be out on the 25th of August for the X-Box 360 on their own downloadable games service “X-Box Live Arcade”.

Here is a quick preview!


Dude! Check this thing out, a flashback in animation! Think of it as a quick prequel!

July 21, 2010

Inception: More Like EXception… to Being Good!

Filed under: Movies — Tags: , , , — Durandal @ 9:43 am

So, I saw Inception. I went in with extremely high hopes, not only because basically every critic told me it was great, but because I have a deep love of mind-bending sci-fi. Better still if it’s actually minds being messed with. Unfortunately Inception is less a mind-bending sci-fi experience than it is a clip show of poorly shot action scenes stretched far longer than is considered acceptable in polite company and padded out with some of the most tedious exposition I’ve seen in a while.

"Most tedious exposist- no, fuck YOU."


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