Monthly Archives: December 2014

Looking For Writers…

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As we come to a close in 2014 here at Rebel’s Consciousness, I would just like to say a few things for the new year upcoming.  As we all continue to put fresh and new updated content on this page. I would like to say first off, that I think the strides we’ve made have been exceptional. And that we want to continue to give people that follow us, a new and fresh perspective on the world in as many way’s as possible! We would like to make a push in 2015, and give some of our followers an alternative option when reading on wide array of subjects. Mainly why I am coming to you today, is to ask our followers here for your help. If you have any writing experience of any kind, we are always looking for more contributors. Our plan has always been to make this as diverse of a creative outlet as we can. Maybe you’d like to put something out with us? If you’re interested, I will leave a few links down below for you to contact us. I hope each and every one of you has a splendid New Year celebration wherever you may be. =)

https://www.facebook.com/rebelsconsciousness

https://www.facebook.com/chris.ballenger.33

https://www.facebook.com/patrick.mcgimpsey.1?fref=ts

Creator and Contributor- Chris Ballenger

SUPERHEROICS ON A BUDGET (PART 1)

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I grew up on comic books so the renaissance of shows, movies, games and more that have spawned from my old four-color playground has kept me in a high state of giddiness this whole century. Christopher Nolan’s sublime trio of movies about the Dark Knight, the success of Marvel Studios’ shared movie continuity, and Zack Snyder’s divisively debated Man of Steel are all holding down the movie side while the well-regarded Arkham series of video games about Batman and his world has fans anxiously awaiting every new chapter. Hell, even the sales of mainstream comics have seen a bump out of their usual doldrums since the advent of same-day digital. It’s a great time to be a fan of comic books and superheroes whether a noob, a vet, an all-consumer or a partisan. The medium that has seen the most growth in spreading the gospel of fantastic heroes fighting dastardly evil is television. The selection of shows, current and planned, offer much more than a momentary distraction during the wait for the next billion-dollar extravaganza from Hollywood.

The just concluded Fall premiere season brought a total of six shows with comic book roots but I’ll only be talking about five of them. No offense to fans of The Walking Dead who are reading this but zombies bore me. Three shows were new, four of them are from the DC/Vertigo canon and one from Marvel. They are in order of the nights they air: Gotham, The Flash, Agents of SHIELD, Arrow, and Constantine. Like fandom, I’ve got my likes and dislikes about each show but overall, they have proven to be quality television, not just good comic book shows.

So make sure your running shoes are tightly laced, your quiver is full, your magic talisman is handy, and your quinjet fueled up with the cloak activated because we’re about to go into a grand journey of superheroics on a budget.

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GOTHAM (Fox), Mondays at 8PM EST

Gotham, the most hyped new show of the Fall season, aims to tell the story of Batman’s city in the aftermath of the deaths of Bruce Wayne’s parents. The ten episodes aired so far follow a large and interconnected cast around a metropolis dark as Victorian London as reflected in a Dickensian novel. A few episodes have seemed unwieldy at times due to the many moving pieces and the creators’ interest in serving Easter eggs to hungry fan folks steeped in Bat-lore but, when it slows down, the kaleidoscopic cast easily propels the show’s central mystery of why Thomas and Martha Wayne were killed. From what I’ve seen so far, it was for more than Mrs. Wayne’s pearl necklace.

A nicer group you could find in Hell

A nicer group you could find in Hell

Our entree into this murky world is fresh-faced Detective James Gordon (Ben McKenzie,) whose by-the-book methods clash from the start with the slovenly corruption of his department embodied in his cynical veteran partner, Harvey Bullock (Donal Logue). Gordon learns soon enough that being the seemingly lone good cop in a bad town that likes to be dirty is hard going. Everyone from the mayor on down is compromised and interested in making him as tainted as they are. Idealism is bad for business. Gordon finds out right quick there’s a murderer’s row of gangsters and hitmen eager to make sure he doesn’t rock the boat. Gangsters led by di capo di tutti capi, Don Carmine Falcone (John Doman), and supported by his scheming lieutenants who are gunning for his top spot like Fish Mooney (Jada Pinkett-Smith) and Sal Maroni (David Zayas). The murderously ambitious Oswald “Don’t Call Him Penguin” Cobblepot (Robin Lord-Taylor) is in the background creeping on his own come up and he’s not averse to spilling a little (okay, a lot of blood) to succeed Don Falcone.

Brucie, this is the beginning of a beautiful friendship.

Brucie, this is the beginning of a beautiful friendship.

Throw in the crazy that Gotham seems to attract like hypnotized serial killers, mad chemists, and vigilantes who kill criminals with weather balloons and Gordon has his plate full honoring the vow he made to young Bruce Wayne (David Mazouz) the night his parents were killed that he would find out who did it despite the cost. He’d better get a move on with it too because the amazingly self-contained Bruce is laser-focused on the same goal as he conducts his own investigation with the help of his trusty butler and legal guardian, Alfred Pennyworth (Sean Pertwee), who is as down for a scrap as any Gotham thug. Just because Batman isn’t on the show doesn’t mean Batman isn’t on the show, if you catch my drift.

That’s some character list and I haven’t even mentioned the proto Bat-villains who have appeared on the show like Poison Ivy, Mr. Zsasz, the Riddler, Hush, Two-Face, and an agile street kid with a thing for cats who witnessed the Waynes’ murder, Selina Kyle (Camren Bicondova).

It all creates a gumbo mix of personalities and tones that takes something from every era of the Batman mythos. There’s the gangster element reminiscent of the Depression Era when the Bat was created, the zany camp of the Adam West show from the 60’s, the grit and urban decay from Frank Miller’s seminal tomes, and the paranoid darkness of the Nolan films. All these elements play out in a gray, overcast Gotham City that perfectly combines the Gothic influences of Anton Furst and Tim Burton from the latter’s movies with the modern verisimilitude of the Nolan trilogy strained through The French Connection. This authentic setting combined with the accomplished cast led by McKenzie’s good-hearted but tough Gordon truly makes the show a satisfying treat on many levels. McKenzie has taken what could have been a thankless straight man role and made it a foundation that allows consummate professionals like Pinkett-Smith, Logue, and Lord-Taylor, the show’s revelation, to chomp down on the scenery when the main conflict of certain episodes have proven to be rather bland.

Showrunner Bruno Heller, the mastermind behind well-regarded programs The Mentalist and Rome, is responsible for stirring up this concoction and despite some peculiar ingredients like the buffoonery of Gotham’s mayor (Richard Kind) and the unrealistically complete venality of the GCPD, his show at the midway point of its maiden season has a
savory taste that has me back every Monday night with my empty bowl asking for more.

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THE FLASH (CW), Tuesdays at 8PM EST

Now let’s move from the misty gloom of Gotham City to the breezy sunshine of Central City, home of the Fastest Man Alive and the breakout hit of the season, The Flash. The Scarlet Speedster anchors the most joyful of all the superhero shows currently airing. DC Comics head creative honcho, Geoff Johns, said in the lead up to the series premiere that it would be the most faithful superhero show ever made and I can’t argue with him. Sure, it’s not an exact translation of the Flash stories from the source material but it has the spirit of the comics down cold which makes for a fun sixty minutes every time the show comes on.

The Flash chronicles the adventures of Barry Allen (Grant Gustin), a crime scene investigator, who becomes the fastest human ever in true comic book fashion after a particle-accelerated lightning bolt hits a bank of chemicals that bathe him in electrified goodness and knock him into a nine-month coma. When he awakens Barry discovers he has superhero abs and enough speed to run circles around Usain Bolt going backward. He’s also become a human guinea pig of sorts for the remaining staff of S.T.A.R. Labs which has fallen on hard times after the particle accelerator the scientific concern turned on to great pomp and circumstance nearly destroyed the city and left behind a new and angry subset of humanity called metahumans. The staff made up of Caitlin Snow (Danielle Pannabaker), Cisco Ramon (Carlos Valdez), and the founder and leader of STAR Labs, the mysterious Dr. Harrison Wells (Tom Cavanaugh), see Barry as the key to making right what went wrong when the particle accelerator malfunctioned by neutralizing the metahumans who cause trouble with their new found powers. They also want to study the effects Barry’s speed has on his physiology, even if all this scientific attention is less than altruistic on Dr. Wells’ end.

This sounds good to Barry and it isn’t long before he’s zipping through the streets of Central City in a lurid crimson bodysuit doing the hero thing. This is only natural since Barry is a genuinely good guy who wants to help people in any way he can, particularly his wrongly imprisoned father, Henry (John Wesley Shipp). Despite his natural optimism, there is much darkness in Barry’s history from the night fourteen years previously when a whirlwind of red and yellow light with a man (or men) inside of it came into his home and left his mother dead with his father framed for her murder. That night drives him to find out what or who killed his mother so he can get justice for her and free his father.

That quest for personal justice is what drove Barry to excel in scientific studies while tracking down every bit of weird and unexplained phenomena he could find to get to the bottom of this tragedy. It also eventually led him into the orbit of the Starling City vigilante, the (not yet Green) Arrow, shortly before his encounter with that lightning bolt. Yes, The Flash and the other CW comic book show, Arrow, take place in the same world as shown by the two-part backdoor pilot for the speedster during the latter’s second season.

Barry didn't get the message that you can't smile while wearing a mask

Barry didn’t get the message that you can’t smile while wearing a mask

The introduction of Barry on the established Arrow last year brought the show some of its biggest ratings so it was no surprise that Warner Brothers, the studio that owns DC Comics, greenlit a show for young Mr. Allen. I knew the show was a go when I saw how engaging Gustin was as Barry Allen and figured he would be able to carry a program about such an iconic superhero on his wiry runner’s frame despite his young age. Gustin’s youth and the earnest way he acts have turned out to be positives though because it doesn’t allow his character to be jaded or conflicted about his superspeed and actually allows himself to enjoy being a hero, a switch from many comic book do-gooders who come across as broody and resentful of their special gifts and circumstances. Gustin’s Barry knows running around in a red fire suit fighting men of steel and human bombs is dangerous but he can’t help but race into the breach with an infectious confidence that he’s going to stop the bad guy and make everything right.

Can you adopt me too, Joe?

Can you adopt me too, Joe?

It’s not difficult to see where Barry’s boundless optimism was nurtured whenever his foster father, Detective Joe West (Jesse L. Martin), and his daughter, Iris (Candice Patton), who Barry loves too much to ever consider as a foster sister, step into the picture. Joe and Iris show that love is a force just as powerful as superspeed in surviving tragedy and coming out stronger on the other side. The Wests’ fondness for Barry is evident seemingly every episode, even when they have to toughen it up to keep his speedy feet solidly on the ground. Jesse L. Martin in particular makes my eyes a little misty every time he has one of his heart-to-hearts with his foster son. Watch the mid-season finale if you don’t believe me to see what I’m talking about but grab a few Kleenex though because you may need them.

Candice Patton as Iris and Rick Cosnett as Det. Eddie Thawne, Joe’s partner and Barry’s rival for Iris’ affections, are the only members of the cast who haven’t been well served in the first nine episodes but the midseason finale looks to address that going forward. If Johns’ boasting proves true about the faithfulness of the show then there’s more than enough material in their respective comic book futures to test their acting chops.

The Flash springs from the same brain trust behind Arrow, Greg Berlanti, Marc Guggenheim and Andrew Kreisberg, so there is no drop in quality from the older series to its shinier, younger sibling. My main worry before the show began was how the crew behind the camera would pull off the much more complicated special effects needed as compared to its predecessor on a television budget. The EFX crew proves weekly it’s smarter than me with how seamlessly the running and other effects are presented because they are just short of movie quality. There were some hiccups with the look of the Mist in the third episode but the SFX really popped in the midseason finale when Barry faced off against the Reverse Flash, the Man in the Yellow Suit, whom he holds responsible for the death of his mother, along with an appearance by the hero Firestorm (Robbie Amell) in all his blazing glory.

I have to really struggle to find criticisms for The Flash but everything I come up with are only nitpicks that I expect to improve as the series goes on. The show is already a major success for a network considered lightweight when compared to its more established peers so it’s already far ahead of where many thought it would be. The trio of showrunners who have crafted the show’s initial success should be able to continue exceeding expectations because subplots abound on this show but unlike Gotham they don’t weigh down the forward propulsion of the individual episodes while building to a greater climax since Dr. Wells has already shown us a possible future for young Barry ten years down the road. By then we the viewers should know how Firestorm was created, what really happened in Barry’s home the night his mother was killed, how fast Barry can really move, and the identity of the Man in the Yellow Suit. So many cliffhangers, so many days before the new episodes start in mid-January. How is it that a show about the fastest man alive makes us wait so long before it comes back?
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AGENTS OF S.H.I.E.L.D. (ABC), Tuesdays at 9PM EST

The lone Marvel televised entry in this listing is Agents of S.H.I.E.L.D. (AOS) which is leaps and bounds better so far in its second season than it was in the first but honestly, that just brings it up to serviceable from dreck. AOS’s biggest strength is paradoxically its biggest weakness: it takes place in the same continuity as Marvel’s wildly successful movie universe which gave it instant geek cred last year but actually hobbles what the show can do on the smaller screen. While it was fun the first ten times in the first season hearing one of the agents reference the Battle of New York from The Avengers or make a joke about Norse gods falling from the sky a la Thor, it seemed as if the showrunners, Jed Whedon and Maurissa Taucheron, were content to present forgettable episodes for most of the episodes. Too many entries looked and felt like something out of the 80’s oeuvre of Stephen J. Cannell, who gave us the immortal Fall Guy, Hardcastle and McCormick, and The A-Team. That was good adventure programming thirty years ago but in today’s world of action shows with overarching, season-long storylines and movie quality digital effects, AOS came off as slight and skimpy, especially when compared to CW’s Arrow.

Oh, there were plotlines that played out most of the inaugural season like how the show’s lead, Agent Phil Coulson (Clark Gregg), managed to come back from the dead after being skewered by the God of Mischief’s, Loki, magic glow stick. And what was so special about Skye (Chloe Bennett), the hacktivist waif, who became part of Coulson’s team? But the payoffs usually turned out not to be worth all the buildup. It wasn’t until the ramifications from Captain America: The Winter Soldier that the show found any real footing. It is fun in concept to see a weekly show that ties into the Marvel Cinematic Universe but it becomes problematic when the most exciting plot developments take place on the silver screen and not the television screen.

The Sexy Ass-Kicker

The Sexy Ass-Kicker

That said, this season AOS has not wasted too much of the momentum from the Captain America sequel as Coulson now leads a much smaller version of S.H.I.E.L.D., on the defensive from a resurgent Hydra and the governments of the world because of the evil organization’s infiltration of the spy agency. This has made for some diverting episodes and action beats like Agent Melinda May (Ming Na Wen) literally fighting against herself, actually a disguised, brainwashed fellow agent, and a counter-infiltration of Hydra headquarters by Simmons (Elizabeth Hentsridge), the cute as a button techie no one would ever suspect of going on a deep cover assignment. The sophomore season has also brought in heroes and villains from Marvel continuity like Bobbi Morse aka Mockingbird (Adriane Padalicki), the Absorbing Man, and, notably, Kyle Machlachlan with hands dripping blood as Calvin Zabo alias Mr. Hyde, Skye’s father.

Throw in new and returning secondary members like Trip (BJ Britt), Mack (Henry Simmons), and the Koenings (Patton Oswalt) along with the turncoat Agent Ward (Brett Dalton), who’s playing his own game, and AOS has a very engaging cast on paper that’s not very interesting in execution. The worst parts of the cast are the brain-damaged Fitz (Iain de Castecker) and the roguishly lame mercenary Lance Hunter (Nick Blood). It really strains credulity that a squad on the run and facing danger from every darkened corner would actually waste time lugging around Fitz’s dead weight much less depend on him to save the whole group as he tries to overcome the injuries from Agent Ward’s betrayal last season and the mawkish flame he carries for Simmons.

What is and what could have been

What is and what could have been

Fitz’s storyline makes my eyes glaze over but Hunter’s supposedly charming scoundrel with a British accent makes me grind my teeth because he serves no real purpose. Instead of the writers giving more plot and action rhythms to returning cast member Trip or to the newcomer Mack they’re both reduced to grunt and nursemaid, respectively, so the twit Hunter can spout some tacky one-liners and make out in the back of vans with his ex-wife Mockingbird. Ain’t nobody got time for that. I would have rather seen Agent Trip’s backstory explored more of what his grandfather, one of the original Howling Commandos and founders of S.H.I.E.L.D., taught him growing up. I want to know more about Mack other than seeing him trying to read Fitz’s fried brain but his only real development came from falling down a deep shaft and coming up as a lumbering zombie with black-on-black eyes. Did I tell you I don’t like zombies? Well, I don’t like them or most horror movies because the same thing always happens to guys who look like Trip and Mack in them. While Mack’s eyes went back to their normal color at the end of the mid-season finale, *SPOILER ALERT* Agent Trip won’t be coming back, an unsurprising and clichéd end since the show has used tired old tropes from its inception.

Agents of S.H.I.E.L.D. has the bones of a much better show and while this season is an improvement, it’s still more DVR watching than must-see viewing. Sure Coulson and the Koenings get off some pithy quips, Agent May is always fascinating to look at, and the EFX have improved but the show is still a hodgepodge of cloak and dagger spy maneuvers with a sci-fi patina. The sci-fi beats are supposedly seeding the ground for the introduction of the mysterious Inhumans in their own movie a few years down the line and the Kree Empire, which figures to play a major role in the upcoming Captain Marvel flick as well. The problem is that just like with The Winter Soldier, the real payoff to these plots and world building will be seen at the movie theater instead of in prime time on your local ABC affiliate. Everything shown this season on AOS could have been done last year but the real shame of this series is that instead of being its own unique entity in the Marvel Universe it will only be permitted to spread its wings just so far. Just so far because corporate synergy trumps narrative originality every time.

–Jason O. Logan

Come back for Part 2 of Superheroics on a Budget tomorrow

Slade’s end of Year… Thing

Well it is the end of the year and everyone is doing their top this and top that… I suppose with little else to write about at the moment I could do a ‘list’. About what? Well about movies. Now my movie watching was slim this year. Buying a house and hosting several gatherings at my house took my funds away a good bit and left me unable to see a two or three films a month. This year I saw 11 films in the theater and I shall now rank them in order from best to weakest, with explanations. Needless to say SPOILERS AHEAD!

1. Captain America: The Winter Soldier – This film deserves the top spot on my film watching for several reasons. Say what you want but it is clearly the best written and directed of the marvel films. The plot was so well crafted that you could remove the marvel elements and still had an excellent film about government corruption, which leads us to the last reason I will list… this film could happen. Maybe not with Hydra, but imagine if you will Obama walking away from a podium. Backstage he crosses paths with George W. Bush and the two quietly exchange “Hail Hitler” as they pass. What a scary world that would be.

2. Fury – What can I say. I’m a sucker for War movies, especially if they deal in World War 2 and since my Grandfather drove tanks this movie was a shoe in on my watch list. I felt the cast delivered strong performances all around. Having served I know how soldiers tend to behave and the things they chat about, and listening to a bunch of soldiers say things like “hey you think Hitler would let us fuck him for a pack of cigarettes?” just made me feel like I was back in my unit. Hell everyone did such a good job I didn’t even mind Shia on screen. He did well too, and the action sequences were not too over the top. Nothing was done in that film that could not have actually happened. It was a well rounded film showing some grittiness of a war in which many of us are fortunate to have never had to participate.

3. The Monuments Men – Yet again I find myself plunged into WWII. I enjoyed this film mostly for its subject matter, but also the casts was top notch, even if it wasn’t any of their best performances. My complaint isn’t even the lack of action. That’s not what this story was about. It was about art, and that’s something I’m passionate about, but I felt this film didn’t quite capture the realism in dialog that Fury did, which is why it finds itself below said film. Still with fun quotable scenes, and memorable script this film finds its way very near to the top of this year’s list. On ward to the rest.

4. If I Stay – No matter what you believe in; afterlife, or nothing, this film was nothing short of fantastic. Never really knowing if what she saw was in her head in a coma or if she was really wandering the hospital in some sort of Ethereal form. Going back and seeing the past is what made the film. Watching to see how the past would affect her choice to live or die. And in the end I’m a closet Romance fan, and this was certainly above all else a love story. Not to mention it was nice to watch Cloe do something that didn’t involve killing people.

5. X-Men days of future Past – A bit high on the list but yes this was my 2nd favorite of the marvel films I watched this year. After deciding to be ok with the changes made in the first two films I was horrified when I saw “Last Stand” and further dumb founded when even Wolverine Origins and First class couldn’t seem to keep to the established continuity for the films. This film breathed fresh life into the series. I felt the way I did when I watch X2. And the events of the film nullifying everything except First class was really just the icing on the cake. It took itself just as serious as it needed to and had fun where it could (Quicksilver anyone?)

6. The Amazing Spider Man 2– Hot off the heels of the First ASM I this film didn’t waste time delivering what we really wanted to see. Spider Man duking it out with a bad guy. Yes it was campy writing, yes, it was campy acting (rhino….. SMH) but that’s what I watch spidey for. My complaints are limited to the very different Harry Osborn, the death of Norman before he became a threat, “Don’t you know, Doc… I’m electro!” And worst of all, they killed Gwen Stacey.. Yes I know she dies.. but I am going to be honest with you. I never liked Stacey in the comics. I certainly didn’t like her in Spider Man 3 (there was very little I liked about that movie) But ASM showed me a Stacey I could fall in love with… and I did. And some little part of me was saying “They change stuff in movies all the time. Maybe they will let her live…” however as much as I hated it I knew it had to come. For Gwen’s death was a turning point for the character. It is when he learns that he can’t save everyone. So yes for such a deep lesson in an other wise casual film I place this movie at number Six… above…..

7. Guardians of the Galaxy – Some of you are likely thinking “Is he an idiot?! He saw this and it’s not at the number 1 spot?” That’s right. I liked this movie, don’t get me wrong, but I don’t think it deserves best movie of the year nor do I even think it is the best film in the MCU. It was fun, well written and the actors all had good chemistry. A possible factor could be that I am not as familiar with these characters as with other marvel films. It was a movie that knew it was there to entertain and that’s what it did. Nothing special really.

8. Transformers Age of Extinction – Let’s face it, Bay Haters, if we hated Bay so much we would stop watching his movies. Nope we keep watching them. Why? Because deep down we love thin plots and dollar store performances from otherwise good actors. We love seeing explosions and we love seeing robots kill each other. This movie gets dinged for two major things.. 1 it just forgets about Galvetron, and 2… we went to see Dino bots and we had to wait over 2 hours and got only 10 minutes if that.

9. The Hobbit: The Battle of Five Armies – Speaking of thin plots. What do you get when you take a great story, chop it into three movies, remove important details, and make up shit on a whim to make it “better”? You get the Hobbit trilogy. Two movies in I really enjoyed it. Then I read the book which is what brought this film down.. down on this list. Sometimes I wish I could unknow stuff and watch like the average movie goer. It was a pretty film, and the fights were awesome, but the white orc was not in the Hobbit. There was no grand fight to be seen between him and Thorin. And I feel like the red headed elf was simply made so we would feel sorry when Kili Dies. I guess the average movie goer wouldn’t feel sorry enough for a Dwarf. They had to have him leave a love behind. I don’t know. Then there was the mentioning of Ranger known as Strider.. when Aragorn would have been like 10 on that day. Cinematically it was a good end to a cinematic masterpiece of a saga. If I could watch it and rank it without the knowledge of the book it would likely climb higher on this list.

10. The Hunger Games: Mocking Jay Part 1 – So I’ve never read a Hunger games book, so I can get my wish with this one. The movie is pretty, and it certainly involves a deep plot. Anything dealing with dirty governments is a serious plot, but in the end the characters are not so believable. I don’t get lost in the watching. I do not get absorbed. Example is, when I watch Harry Potter I feel like I’m peering into another world where I’m seeing Harry Potter. When I watch the Hunger Games, entertaining as they may be I feel as if I’m watching Jennifer Lawrence recite lines. The rest of the cast doesn’t even help despite their acting chops, though that could be writing or directorial issues. Still that lands this movie at near the bottom.. But I said I saw 11 films. So which film didn’t make the top 10 for me?

11. Lucy – I wanted to like this film. I really did. I didn’t care that it was using the old (and inaccurate) plot of us using only 10 percent of our brains. I’ll let my imagine nation run wild for two hours.. oh wait.. I only needed it to run wild for 90 minutes. Now a good movies doesn’t have to be long, but I feel like this one might have been better if it ran longer. There just seemed to be bits missing. By the end of the film she could control every cell in everything and yet didn’t stop a gun fight happening right outside the room she sat. She didn’t bother teleporting to the places she needed to be. I feel like a far better film was left on floor of the cutting room and frankly I ‘d like to see that film. The dead pan acting from Scarlet was even forgiven once it was established she didn’t feel emotions like a normal human, but that didn’t help the odd images we were presented during the time travel sequence. I’m really not sure what was going on in a few frames.. and to be honest, watching her turn into some bio super computer and spitting out the biggest jump drive in history containing all of knowledge ever was kinda dumb. It was like the whole movie was a big joke and the audience was the punch line. I might watch it again if it comes on HBO and I”m bored but I wouldn’t go out of my way to see it.

Well there you have it. The 11 films I watched this past year, ranked. Let me know what you think. Let us hope next year I’ll have more to rank.

-Contributed by Matthew Slade

Dead Space 3 Review

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Can Isaac Clark survive a third round with the Necromorph scourge?

Dead Space 3 is an amazingly great game in spite of a few, yet obvious flaws. Its superb combat and addictive collecting and upgrade mechanics are great additions to the franchise, however the game is plagued by it’s constant errand running, and rather bland story along with a strong sense of deja vu that make up the better half of its nineteen chapter adventure.Despite these flaws, just with the previous entries, I can’t stop playing. .

Dead Space 3 also marks the first game where  co-op is an option. (Player 2 taking control of Sgt. John Carver) Very few games boast a rich atmosphere as Dead Space 3. Visceral Game’s engine easily renders everything in crystalline clarity. The eerily depth of space stretches out in differently in a haze which channels the spirit of the 80’s sci-fi and horror films while the snow and ice driven terrain of Tau Volantis pays homage to John Carpenter’s The Thing.

The music and sound design are top notch along with the visuals. They support each other well enough with traces back to classic genre soundtracks from Brian May (The Road Warrior), James Horner (Alien), and Hans Zimmer (The Dark Knight Trilogy). The voice acting is also done really well.

When it was announced that Dead Space 3 would have co-op, many fans were fearful that this meant that the series were moving away from its horror roots and to the more mainstream stage of action-thriller. Playing in co-op erodes the sense of isolation, but the lingering feelings of dread and scares remain intact. For those who don’t want nor care about playing in co-op, they can still have a relatively faithful Dead Space experience. The game responds pretty decent to the addition of a second player which will definitely come in handy in some of the more difficult encounters and boss fights. Carver’s presence also introduces some new lines of dialogue as well as a bunch of great optional co-op missions that explore his very tragic past. These co-op missions are some of the best parts of the overarching story and it makes me wish why Visceral didn’t put it as an option that you could do Carver’s back-story alone instead of on co-op.

Just like in the first two games, the combat reigns supreme in Dead Space 3. The combat is physical, vicious, and feral. The strategic dismemberment concept is the Dead Space franchise’s bread and butter. Even if you’ve played the first two games, Dead Space 3’s combat is still some of the most unique and satisfying of this generation.

Perhaps one of the most intriguing additions to Dead Space 3 is crafting and upgrading system. Gone are the days where you’d buy your weapons and ammo and health items at a store. This new concept really adds to the combat experience. The player will constantly be on the look out for new parts and resources to either build a new weapon, or upgrade their existing one. These decisions on what the player chooses to do makes for terrific tension all on its own. These new systems work together in a way that it creates a reward structure in which you’ll want to come back to.

Like I previously mentioned, Dead Space 3’s story feels bland and forced. Isaac has retreated from society, left his new girlfriend, and turned his back on the fight against the Unitologists and their markers. Yet when he finds out that Ellie is in trouble that is what propels him forward to fight on. Why now and why not earlier when she called and left a dozen different messages for him? This is the introduction to a fairly boring and uninteresting love triangle along with a series of far-fetched events. I will not go into spoiler territory but there is no way that with what the player discovers on Tau Volantis would go unnoticed for 200 years which could’ve helped the fight against the markers and the necromorphs. The writers must have noticed this because there’s an entire prologue trying to sell this single plot point. Also things seem to conveniently fall into place when Isaac and his team start to piece everything together in the second half of the game.

In addition to this stumbling story, Visceral has seemed to have backtracked to the original game as most of the progression is spent doing chores and errands. Isaac just can’t catch a break as whatever could go wrong, does go wrong and the solution is almost always either finding some lost item in a building on the other side of where you are. This structure feels so similar in routine and weakness of the original, at times Dead Space 3 feels more like Dead Space 1 all over again.

This shows that Visceral really didn’t have anything new to add to the lore or story. Isaac is a broken shell of his former self and this results in him being flat and rather bland throughout the majority of the game with very little development. Instead of some clever game-play that we saw in Dead Space 2, like the straightjacket intro or the grueling and horrific eyeball needle sequence. We’re instead treated to a bunch of mediocre mini-games and fetch quests. Other nagging issues include a reoccurring boss fight with a creature in which you must fight on three separate occasions. a terrible, and rather awkward fight against an angry drill, and an extremely generic final boss fight. Considering the elegance, sophistication, and lore of the world, combat and upgrade/crafting mechanics, it’s a shame that everything else feels rather meh.

The combat system and the world that Visceral has created in Dead Space 3 is so expertly woven and built that I found myself overlooking my main critiques and complaints because I thoroughly enjoyed playing it. This is a very important distinction to make: loving a game while being aware of its faults. Dead Space 3, when played the way I have, on New Game+ is an engrossing and satisfying experience. However it requires ignoring the bland story and the numbing to do lists. It only then becomes about building up the most powerful, best outfitted Isaac that you can imagine. Dead Space 3 may stumble and even fall down on itself sometimes, but it learns on how to pick it self back up in the aspects of combat, and upgrading/crafting.

Rating: 8/10

Contributor: [Adam Buskirk]

Top 5 Things You Do Not Say to The Silmarillion Fans

Contributor: Rick McGimpsey

5

1. So this is basically the Elvish Old Testament, right?

2. There is a Tolkien book more boring than The Lord of the Rings!? Amazing!

3. Why didn’t Iluvatar just kill Melkor before he got a chance to ruin Arda? The Valar are next to useless in the whole affair. Maybe Feanor was right!

4. Beren and Luthien and Turin Turambar are the only tales worth reading in this otherwise long, boring, overly preachy piece of nonsense.

5. I really hope Peter Jackson gets to make a three-part film of this. Screw the haters! PJ can add as many original characters, bad jokes, and non-canonical sub-plots he wants to. Just let him do it! I don’t have time to read books any more so give me more movies!

Next Monday: Top 5 Things You Do Not Say to Superman Fans

Innocence, Death and Zombies Films

Today, my mother and I took my sons (12 and 5) to the cemetery, to visit the graves of my father and brother. From there, things only a child could say caused hilarity.
First my five year old asked, “Are we going to see Paw Paw (local vernacular for grandfather) and dead Uncle Matthew?” We replied yes. Once at the grave site, he asked if we were going to dig them up. Which of course we responded no! He then asked why they died. We told him that everyone dies. He responds by asking when he was going to die. We told him we don’t know and we hope we never will.
He asked us where they were, my mom replied that they were in Heaven, with Jesus. He asked, rather annoyed, “Why didn’t Jesus just heal them?!” We were at a loss to explain that one. So we showed them my grandfather’s plot. My grandfather (91) paid not only for his plot, but his headstone, years ago. My little one asked, “Is Pop (my grandfather’s title, for us) buried there?” We responded, no, you see him every weekend. He responded with a disappointed, “Oh.”
The child like view of death that he has is amazing. What is truly offensive, from an adult is actual comedy, when a child sees something that can not be explained, easily, to anyone.So place some flowers on a grave of a loved one, just don’t dig them up!

Contributor- Brian Holder