Xar Reviews

Friday, December 30, 2005

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Princeton University first semester 2005-2006 review

John Nash
Condy Rice
Waiting for Condy Rice
Protesting Condy Rice
Eli Wiesel
Hilary Clinton
Michael Chertoff
Sam Alito
Bill Gates
John Conway
Alexander's Wildly Horn Theorem
Bernoulli Numbers
Not working clock
Seven and a quarter minutes
Be crude + that's not good enough
Constant but not actually constant
Compactness + Heine-Borel theorem
Cauchyness+Abel's DOT
Absolutely convergent+Conway's series
Hausdorf+HousedOff
A big man with an epsilon in his pocket
Andrew young + problem sets
Nathan Savir
Fine hall common room
Math majors talk
3:30pm Tea Friday
Orgo lab exam
Semmelhack+Advising
Orgo lab review session
SN2+SN1+E2+E1
NMR+UV+IR+MassSpec
Cyclohexane
Backside Attack
Stereogenic Center
Fingerprint Region
Recrystallization
RotEvap
Drying agent
Parafilm
Steam Distillation
Orange peels
Hirsch funnel
Acetaminophen+Asprin+Caffeine
Thalidomide
Walter water
Jinglong Chen
Accepted with major revision
BilL Brow
Regrades
McCosh50+McCosh10
PPPPPRRRREEEEEMMMMMEEEEDDDDSSSSS
CHEMEEEEEEEEEEEEEEEEEEEEE
SSSEEEPPPPFFFUUUNNNNEEELLLLL
Invert and Shake
Frick Lab
OA 94
Bearbagging
Zipline
Repelling down the dam
Swimming
Ultimate Frisbee
Ultimate Ultimate Champion
Geishdalt
OA93
Jump and Shake Bootie
The support team
Princeton Blairstown
Consequentialism+Deontology
Kant+Hume
Peter Singer
Michael Smith
Utilitarianism
John Rawls
Philosopher's toolbox
Reflective equilibrium
Todd Beatie
Tulane students
Writing Seminarz
JAS
Watson+Franklin
That's not a paper
Peer review
Andrew Doupe + Gene doping
Eric Liu + NMDA
Lee Fischer + Biovaccine
Deepa Iyer + Economics
Survivin
Cancer Gene therapy
CSA + Mahjong
Murray Dodge
East Pyne
MacCarter Theater
Alexander Theater
Excess Hollywood
Frosh Orientation
Triangle
Quadrangle
The Street
Daily Princetonian
Press pass
Princeton v Yale
Yale Sucks
Bonfire
Glee Clubs
Ben Amster
Celene Chang
Lake Carnegie
Aaron Petochin+Zendo
Joseph Perla
Aaron Petochin+Chinese Chess
Aaron Petochin+Set
Mooncake celebration
The Inferno
Astrophysics society
PSPS + Pizza
Math+Chinesefood+Pizza
Study Break + RSA
Telescope viewing
Rocky-Mathey Library
Art Museum+library
New South
Holder+Firealarm
Snowball Fights+Slingshots
DDR
Campell Lounge + Bdays
Fall+Thanksgiving Break
The institute+Mrs.Hattan's visit
Einstein drive
Across the Universe movie filming days

Wednesday, November 16, 2005

The Boondocks

This is the best anime I've EVER seen. That's not saying much cuz that shit sucks for the most part, but this show is the epitome of contemporary relevance. For those of you unaware with the spectacular new series, it's a new addition to the adult swim lineup, an anime comedy about a black grandpa and his two grandsons move from the ghetto into a white suburb and deal with the new race issues of the suburbs.
Everything about this show screams "right now." Anime is the one of the hottest things in sub-culture right now, and comedians talk about race like it's the new sex. For example, Dave Chappelle is making millions on making light of racial conflicts. Even the racial conflicts the show deals with represent the new racism in this country. The pilot episode, entitled Garden Party, presents the thesis that yes, there is racism, but the ties between whites and blacks are far more binding, in this case, grandpa and the bank-owner coming from the old school. Even the racism they deal with is new. The grandkids go strolling through the garden party (where grandpa is trying to impress the new neighborhood, especially the bank-owner) telling all the white folks that Ronald Reagan is the devil, and that The Passion of the Christ is irrelevant because it has a white Jesus. All the rich white (I'm assuming republicans) all applaud, praising the young'n's bold and progressive speech. The commentary here is it doesn't matter what young blacks say, it will be tolerated and even embraced by politically correct, (therefore totally pretensious) whites. Another example of the new racism is an old black employee of the bank-owner named "uncle Rufus, no relation," incessantly comments on the uncle tom-ery of this new black family, eventually grabbing a microphone and singing "don't trust dem new niggas over there." It's appalling and it's offensive, but when he passes out drunk on the lawn, he receives applause, with one white woman whispering to another, "I think the n-word's ok as long as they say it." Basically, whites assume that any inappropriate behavior by blacks can and should be brushed off as a cultural difference. All the while, the show addresses and even acknowledges some of the stereotypes of blacks. Both the kids are enfatuated by guns, and generally don't trust white people. Says the younger grandson "I know stuff about white people: they say the whole...word...just...like...this, and they take time out to study, and they arrest you." The bank-owner's son is a wigger to the max (voiced by Charlie Murphy), just back from iraq, who throws back 40's and wears his dog tag and a gold W on his chest for his last name. In the end he shows off his gun collection, puts on a kevlar vest, and has the youngest grandson shoot him in the chest with a shotgun. When grandpa goes to talk about the incident with the banker, it goes like this. "In thirty years that kid'll be the president of the United States, and he'll still be a fuckin' idiot. Now are we gonna have that drink or what?" They toast the old school and the show fades out.
The show is smart, the show is thought-provoking, and best of all, it's damn funny. Sometimes I think Jerry Springer is funny, but the difference between that and the Boondocks is I don't feel all dirty when the credits roll. SEE THIS SHOW

Wednesday, August 31, 2005

Diary of a Mad Black Woman

Note: This movie is so crappy I couldn't contain myself from describing much of the plot because I discourage anybody reading this from actually watching the movie. Plus, describing the plot in a skeletal manner would only let you predict it all anyway. So don't consider this a review, consider it a breakdown of a very horrendous movie -- with spoilers.


What do you get when you cross an angry, cheating, bald black lawyer with an affectionate, loving housewife who's with him for love, not the money?

Fiction.

And all males that watch this movie know that. Actually, all women do too, which is what makes it so good to them. So here's the skinny. The movie fades in to the narration of this by now distraught woman conveying how "perfect" her life was. She had the perfect husband, the perfect mansion, and the perfect life, but behind all this was insincerity and negligence on his behalf. The frail woman, Helen (Kimberly Elise),is at a banquet with her judicial guru husband Charles (Steve Harris), and they take photos, sip wine, and he gets some sort of award and praise. During his speech he glorifies his wife and talks about their perfect marriage of 18 or so years.

So finally the obvious deceit of his words is shown when they're in the car parked in front of the mansion. She's all bubbly and wants to go have sex with him since it's his "special night" (or he's just not putting out and she's disappointed), but he says he has to be at the "office" and she needs to basically get the hell out of his car. After some bad mouthing and overdone villafication, she goes in the house alone.

Cut to the next day. She's at the husband's job, and he walks down with some Hispanic woman and two kids. Helen looks at them, smiles, and says she'll see him at the house. She arrives to find this buff copper skinned black guy with a U-Haul truck who looks about ready to peel his shirt off already. He's got soft features, a defined jaw line, perfect teeth, and he the beloved long braids. In the South they call this Black Woman's Dessert, or "Brown Sugar" (Shemar Moore). Ironically, it's her and Charles' anniversary. Brown Sugar explains to her that Charles ordered him to take all her clothes out, so she thinks it's some joke at first. Then she goes upstairs and sees her maid (yes, she's a housewife, but there's a maid too) hanging a rack of new clothes in her monstrous closet. She gets all giggidy and decides it's her anniversary gift from him, so she tosses on a dress and buys some nice champaigne.

Alright, now you needed to know the first scene or two so I could establish something about her character. What do you think it is? If you guessed she's something that rhymes with "Cupid", you're spot on.

Big Daddy Charles comes home and she's got something sexy on that she nabbed from the clothes rack. He says he needs to tell her about something, but she cuts him off saying she thought he forgot about their anniversary. He persists trying to say something, but she goes on about how the clothes were a little off her size, and not quite her taste. Finally, the Jennifer Lopez wannabe from earlier walks in asking what the hell is going on. Charles terminates the relationship quick, and Helen doesn't compute it too well... shocker!

Finally, she claws and holds on to the floor as he literally throws her out the house. I'm pretty sure he mutters the PG-13 equivalent to "Stupid bitch!" as he throws her out. He's damn right.

So Brown Sugar's there, offers to be nice, she says no, goes to her crazy relative Madea's house, and Madea goes and cuts shit up in the mansion. They file for divorce, Helen's bitter as hell, and Brown Sugar has a small feud with her because of her lack of acceptance for his help after she was rejected.

Some dude from the ghetto who was once a coke dealer with Charles finds him after killing a cop and having it taped. He tells Charles to defend him and if he loses he'll kill him. Charles keeps acting tough, loses, and gets shot.

By now Brown Sugar and Helen are an item (SURPRISE!) and she sees Charles has been shot. He's paralyzed but they allow her to take him after J. Lo instructed to end his life due to the chance of him never walking again. Unfortunately, she realizes she can't do that because she's still not the legal wife. He hasn't signed divorce papers yet, so Helen's got control yo, and don't noboy eff with a mad black woman. Anyway, she takes him back to the mansion and stays alone with him. To be blunt, she puts him through hill, and lets him wade in his own urine an feces, among other things.

Somewhere in the plot there's a crackhead mom and a girl who can sing like a 30 year old, a protective dad, and three or four characters played by the director of the movie, Tyler Perry (Yes, he's that arrogant, and obviously hasn't seen how that didn't work for Eddie Murphy in Nutty Proffesor I and II: The Klumps).

So by the end Helen is faced with a dilemma: perfect Brown Sugar or good ol' not-quite-ex-husband.

My gripe with this movie is how absolutely ridiculous it is. When Helen is with Charles in the beginning, she's absolutely luck laster in picking up he's cheating on her, and even more lackadaiscical in realizing he doesn't really love her. She's just so stupid, but Tyler Perry makes it seem just like it appears -- she's a baby trying to survive in the real world who needs someone to take care of her. I think this movie had about four other movies within it, and it was almost as predictable as knowing a hooker will give you ghonnorea (as stated by Eazy E).

Of course, women love it due to her finding what could be a prince charming (Brown Sugar) and getting some revenge on her mean ol' husband, but men hate it because she's too damn stupid to leave him first.

This movie rivals the "Look Who's Talking" sequels as potentially one of the worst film atrocities in the 20th century.

The Verdict: 1 Alp (A) because it gives men out there the belief that somewhere deep in the black rich areas of America, there's a woman who will let you abuse the hell out of her and love you like there's no tomorrow.

Friday, July 01, 2005

Oldboy

I woke up this morning and realized that it's been so long, the spanish numbers really don't matter any more. They say old habits die hard, but apparently the same rules don't apply to formatting philosophies. Oh well. So much the better. I now have absolutely no reason to remember any of my spanish at all.

So a few weeks ago I saw this movie, Oldboy at the Hollywood theater down in Portland. The first thing to know is that the movie is Asian. And honestly? That should say it all. As Corbin concluded long before, Asia (and especially Japan) is a land full of godless heathens, and the sooner we can stop the spread of its culture, the better.

Oldboy is about a man who has been locked in a small, modest room for fifteen years. He has no idea why he was there or where he really was, but now he's out and he's pretty happy about it. So happy that he visits a sushi bar and eats a live octopus. It's great. While there he meets this girl, they fall in love, and she encourages to rape him when she says the time is right. Or something. It's a weird conversation. The moral of the story is that the deicide to live happily ever after.

Unfortunately, happiness does not exist in Asia, and our hero Oh Dae-Su decides that he needs to find the people who imprisoned him and bring them all to justice, but only after ascertaining why he was held for so long. And so begins a more placid yet sexually deviant version of Kill Bill.

Did I mention the sexual deviance? Holy shit. But that's a plot point, so I won't say any more.

As for the Kill Bill aspects of the movie, he trades in the Hattori Hanzo sword for a hammer and goes at it against, like, twenty guys at once in what is the most ridiculous fight scene I have ever witnessed. But at the same time, it's phenomenal. There is nothing like a long, tracking shot of a guy beating down henchman after henchman with just a hammer. The scene runs more like a cartoon than anything else. The hammer is also frequently employed as a dental implement, the claw being particularly useful at prying out the teeth of someone who knows something valuable.

As for the actual quality of the acting, it's sort of hard to tell since the movie was foreign and all. Like seriously, when all the dialogue is Korean it's really hard to nail down the quality of delivery. But they all seemed pretty good. The choreography was excellent, I have to give them that. And I loved certain aspects of the directorial style. Overall, I approve of this film.

The Verdict: Four Alps (AAAA).

Friday, June 24, 2005

I APOLOGIZE FOR THIS POST

I CAN NOT BELIEVE THIS..........BUT I SOMEHOW FEEL LIKE GOD WILL PUNISH ME FOR THIS FOREVER INTO THE FUTURE

I am right now committing the biggest sin in my life.........IE blogging........Although this is not my blog, I feel even worse blogging on this thing..............although this blog is not mine so I don't feel bad about people reading it

But I feel like making a laundry list: (Hopefully some of you will share at least part of this laundry list...........and you guys should add on to it if you feel like it) I feel like this is about .000000000000000000001% done...........my memory is getting so hazy now after not blogging

Anyways, I feel like this is a song, sort of like the laundry list song of "We didn't start the fire"

**********Four years of memories****************

-"Silence is the Absence of Noise"
-"I'll Slay a Hairy Male In My Sleep"
-"Life is too short to take enough pain for your brain"
-Emerson's face
-Grape stapled on the wall
-Little satan
-VSD MUN
-Coaching Middle School + MAC + Mr.Miller
-Plus Nathan Henry + Ky Sacco
-AP tests + Multiple Choice + Free Response
-School board recognitions
-ASB constructive criticism
-Two years of countdown
-Ms.Clark + Dancing + On top of tables
-The Popular/Fascist/Elitist ASB
-Red bolded font with a lot of F words
-Fall sports assembly + 1600 + academic sports
-Mr.Skyview + Amy Whalen + Nick Niland + Bethany Graef
-Plus Bruce Gately
-Corey Furin + Expenses + All in favor say Ay
-Plus Ay plus all opposed plus none
-Plus Chris Thompson + Jack Click
-Plus Freshman + Making signs
-Plus Teeee Chen
-Plus approving Skyview pirate club + bureaucracy
-Blogs for Mrs.Clark + Mr.Wargo + Mr.Powers + Mrs.GH + Mrs.VA
-Plus secret message on blog
-Plus surprise goodbye party for Clark
-Plus ITS + Block blog + Block google image search
-Mr.Wargo + Mr.Emerson + Mrs.GH + petition
-Plus biggest blunders ever
-Fire drill + Last minute of our senior year
-Freshmen year lockdown
-Netnav + Genest
-First day meeting Pavan
-Plus Math Team + Kunal Vaswani + Brian Basham
-Plus Bowen + Talarico + Crowther + Ngo
-Plus Brian Tang + Attar Bhangal
-Plus 5:00 AM + Saturdays
-Plus Dr.Freeman + solution manual
-Plus AMC + NAT
-Plus Federal Way plus Yakima
-Plus second place plus Team Projects
-Plus Cy + Thomas Chen + "Unintentional Injuries"
-Mrs.Hattan, Mrs.GH, Mrs.Bevil, Mrs.VA crying
-ISEF 04 + ISEF 05 + Team OR + Go for the AU
-CWOSE + SMT nerds
-NWSE + SMT 04
-Sci-Bowl + Hydrogen + Fuel + Cell + Car
-KB with Jake/Flieder/Angy/Matt
-KB with Abe/Gundert/Gust
-KB with Thomas/Andy
-Plus Eleven + Rob + Corbin + Michelle + Chad
-Plus Tang + Banghal + Chris
-Plus Michael Wu + Matt's mom
-Plus Regionals + state
-Plus Voyager2 + Russia + Heritage
-Plus Ramsey's board
-Nattah Lorac
-Cramsey
-Ramsey + ISEF + Scibowl + KB
-KB + JV (B)ad + JV (A)wful
-Plus River1 + River2 + River3
-Plus JVRiver1 + JVRiver2 + JVRiver3
-Plus Bay + Fort + Ridgefield
-Plus Prairie + Mountain View + Evergreen + Battle Ground
-First day of blogging
-Plus Xar Plus Bosque Plus Dan
-Plus party animal
-Plus Paul plus Miniyao2 plus Miniyao
-Plus Nick plus Eleven plus Egil
-Plus Elias + Pavan + Yeast
-Plus Taking over the world scheme
-Paul + Mrs.VA + APTurtle blog
-Paul + Noelle Pervelle + Matt Abe + APTurtle blog
-Plus Matt Wu + Evan Cate + Mrs.Clark + Rob Muilenburg + APTurtle blog
-Plus Jake Smith + Turtle + Parody + Blog
-Plus Tagboard + Commentbar + Retrostats
-Plus JR + Stolen Pendrive + Suicide + Mrs.GH + Mr.Emerson + Mr.Geranios
-All that Plus Mrs.VA + Mrs.Hattan + Mrs.Ramsey + Thomas Chen
-And plus Zambon plus officer John Pound
-El Bosque + BYU Health
-Election night Plus the next day
-Plus Pavan in red and Thomas in blue
-The day I deleted my blog
-Plus suicide philosophy + Social Segregation Experiment
-Senior proj presentations
-Professional Dumping Portfolio
-Chirag + Anderson + Hattan
-Chirag + Advanced Algebra + Final
-Simon Cho + Anderson + Hattan
-Forensics sophomore year + Fleck + deadbody
-Plus Stiff
-Plus James Lee + Paper Mache + The hand
-Plus Dissections + Mink + Shark
-Plus David Cathcart + Robb Crabtree
-Plus Ryan Elliott + Frank Kanekoa
-Plus Natalya Skiba + Stanford + Harvard
-Plus Upenn + Georgetown
-Plus Maria Aksenova + Erikas
-Romeo&Juliet + acting + Friar + Thomas Chen
-Julius Caesar + Acting + Et Tu Brute
-Plus Emerson's class + Chantting Orgy + in the background
-Plus Romeo & Juliet movies
-Drama + Megan Valencia + Newspaper
-Plus Reckless + Midsummer Night's Dream
-Plus Tristan McDaneil + Conor McLean
-Plus Will Johnson + blue hair
-Plus Ryan Knight + Ryan's house
-Plus Chad's unknown voice
-Plus Laurel Wilson + the rides home
-Plus Joseph + Best thing I've ever saw in my life
-Plus Jiwon Kang + Corbin Smith
-Thoreau + Chad
-Emerson + Nature + Tyson is a tree
-Plus big fat lit book
-Plus Journals + Native American Lit
-Plus EE Cummings + Emily Dickinson
-Plus Tale of Two Cities + WHECP
-Catcher in the rye + Clark + Grouproject
-Catch 22 + notecards
-Tyson Cecka + Wall Flip + Backflip
-Plus TI 89 + Lost Calculators + Thomas Chen
-Plus borrow calculators + Hattan
-Blaine + 4th graders + Tyson + Wall flip + money
-Cy Khormae + 8'clock + Skyview
-All that plus Mayfield's class room + TV
-Cy + Angie + Wuman + APTurtle
-All that plus chair fight + Nattah + Advanced Algebra class
-Mei + Carla + Margo
-Brian Patton + Philip Opperman
-Evan Cate + ASB
-Phil Goodwin + Zach Smith + ASB
-Plus the videos + Nancy Wistrand
-Plus SMT Election videos
-Plus SMT Awards Nights + SMT Frosh Nights + SMT Blasts
-Plus THE Math Team Promotion Video
-Plus Tyson Cecka + Kills + Thomas Chen
-Plus Skyview News
-Plus Zach Otramba
-Plus Al Tu + Matt Johnson + Chris Mitchem
-Plus Rob Muilenburg + Jesus + Cap&Gowns + Mullet
-All that plus court assembilies
-Graduation 04 + Matt Wu + Vanessa Esch + Thomas Chen
-Plus party till 3 am
-Rachel Stanley + Bevill
-Bethany + Kimber
-Rob Muilenburg + Thomas Chen + Veteran's Day Assembly
-Plus Mrs.Robely + Mrs.Gladinus
-Amy Whalen + Toy Drive + Food drive + Chest drive
-Plus Tsunami Relief drive
-Junior year surprise bday party
-Plus the green turtle cake
-Plus ASB agents are going to kidnap Thomas Chen
-Plus Paul + Bellydancing kit
-AP Chem study group + Mark Johnson + Jokes
-All that plus making Thomas Chen crawling on the ground
-Plus making Thoma Chen crawl to under the table
-Plus making Thomas Chen swing back in the chair
-Plus hitting Mr.Skoog with the chair
-Plus Nova Martin + Mark Kleefstra + Mina Obrien
-Skoog + AP Chem + Spoon
-Plus Indian BS
-Vanessa's Bday party + Twisters + Indian BS
-Andrea Larson + Trusha Patel
-Plus Trusha's fart shoes + Mr.Powers
-Plus Slaqueriovilles
-Plus Mr.Russel + ADD + eeeeeeeeee
-Clark + ADHD + dancing on the tables
-Divcom + Christy Hough + MLK Assembilies
-Plus top ten hates on APTurtle blog
-Plus the discovery of my blog by ASB
-GH + Hostage story
-Plus Hamlet + Acting + Snapping off the branch
-Plus sixth period
-Big screen + Commons + 911
-Plus intercom + Brendan Johnson + suicide
-Plus common assembilies + Kelsey Torterillo
-The benches outside the school
-Plus waiting on the bench till 9pm
-Plus waiting in the cold
-Plus waiting in the rain
-Plus waiting + waiting + waiting + two years
-Plus "hitch hiking" + Too many thank yous
-Plus teacher parking lot + The busline
-Plus waiting for the school bus + cold mornings
-Plus waiting in the dark + dark till 8am
-Plus sleepy first periods
-Sargeant + yearbook + Erin Riley
-Plus Newspaper + Quotes off APTurtle blog
-Darling + Update + web
-Benson + Brendon + Giovanni
-Plus Andy Perez + Chow Ni + Eric McAllister
-Sunday + Labs + Spill + Thomas Chen
-Plus Dry ice + bottle + bomb
-Brands + B squared + Beautiful Mind + 04
-Plus Sam Pruitt + Tony Jenkins
-Plus quote of the day
-Emerson + Orange + axe
-GH + Emerson + VA + Editing College App Essays
-Emerson + VA + SHARP
-Frosh SHARP Research
-Plus 200 notecards
-Railroads + Wobbilies + More paper
-Ken White + Syd Clos + Beck Nelson + Bethany Graef
-All that plus that poster project
-All that plus a crying Thomas Chen
-Emerson + VA + Conferences
-And conferences + rough draft + more conferences
-Plus peer edits
-Plus Thomas Chen + Rob Muilenburg + Israel & Palestine
-Plus the Persuasive Essay
-DeeeeeeeeeeeeeeCuuuuuuueeeeeeeeee
-Plus THE gavel
-Plus Sameer + Jenkins + Gundert + Cusack
-And more Sameer
-Plus debating about whether to debate or not
-Plus C10 + C23 + C24 + C25 + C32 + C69
-Plus Xar + Dan + Devin + Power + Struggle
-Powers + Mr.Poder + Quizzes
-Plus wasting time
-Plus Courtney + Canada
-Plus Alex Williams + Golf
-Plus Jenni Wilson + Erika Wisnewski
-Plus extra credit China movies
-ASB Retreat + Broken windows
-Plus dances + decorations
-Plus Scibowl crashing winter + Unsuccessfully
-Plus Court nominations + Declining nominations
-Plus Pavan Vaswani + Prom + Prom King
-Color war + Forest Green + Lime Green
-Plus spirit days
-Plus light green + lawn green
-Plus Pep assembilies + DAMN YOU ASB
-Plus battle of the sexes + guys + Cross Dressing
-Plus Freshmen Power + Sophomore Power + Junior Power
-Plus Senior Power
-Plus the teacher dance + Hattan + VA
-Jake Smith + Ryan Gust + Cecka
-All that plus Darling's 6th period
-And all that plus Risk + Riskopoly + ASBopoly
-Plus finding nemo + ASB + The Turtle + The Shark
-Risk + "Honor" + Math Team Party 04
-Plus THE cake
-The Corbin Smith + the slap
-Plus Winter Prince + Campaigning
-Plus Pep Assembly talk
-Plus KB + Electrocapitalism
-Plus Xar + Michelle Davis
-Erin Riley + Chad Wyszynski
-Plus Dan Lowry + Alex McDougall
-Plus Paul Fleurdelys + Julie Olds
-Plus Xar once again + Kimber Graef
-Plus Dan once again + Vanessa Esch
-Pavan Vaswani + Rachel Stanley + Ben Perry
-That is not a theme + Ben Perry
-Plus theme + 3 main ideas + Yellow Butcher Paper
-Plus Thesis + Focus Question + 2 Sentence Intro Paragraph
-Change over time + Compare & Contrast
-DeeeeeeeeeeeeeeeeBeeeeeeeeeeeeeCuuuuuuueeeeeeeeeeee
-Plus after school * Weekend study sessions
-Plus Barrons + Petersons
-Plus Alex McDougall + Tyson Cecka + Matt Edwards
-Plus Pat Bridge + Matt Berry + "In the house
-Plus Jackie + Dan + Snowwalk + Clark's class
-Senora Jacobs + Powdy face
-Plus Tyson Cecka + David Cathcart + Andy
-Talking to Matt Wu online + about ASB
-Icedout of school
-Plus Paul Fleurdelys + Ryan Elliott + Thomas Chen
-Plus Paul + Tahoe + Jackknife
-Jake Smith educating Thomas Chen + Candide
-Plus Natalya + Chad + Frank + Philosophizing
-Plus more moments of embrassament + Romina Barrett + Megan Valencia
-And Jessica Gill + Vanessa Esch
-Plus Cold Stone + Skipping class
-SMT Council + Carole Mangel + Elaura Rifkin
-Plus making signs + throwing SMT signs away + ASB
-Plus Vanessa Esch + Elisha Ngo + Kunal Vaswani + Tristan Holtz
-Plus gutters + catapult + baking soda + vinegar + jelly beans
-Plus Pool game + Java + AP Compsci
-Plus Pumpkins + SMT Boosters
-Plus Forrest's mom + Tucker's dad + Tristan's mom
-Plus Amy's parents + Tyson's parents + Vanessa's mom
-Plus Paul's parents + Pavan's parents + Elisha's parents
-Linn Clark + Webcalendar + Mrs.Shultz
-Key Club + Ms.Winter + 75 hours
-Plus Camp Wairiki
-Plus Boys & Girls Club + Santa
-Plus Song Yue Huang + Editor
-Plus Sarah Yamin + Terry Burke
-Natural Helpers + Ms.Roth + 400 wing + 400 wing theater
-Plus Big Brother Big Sister + Alki + 7th period
-Plus Ryan the seventh grader
-Plus Phil Bridge + Pat Bridge + John + Scott
-Plus Peer Mediation + Peer Mediation Trainings
-NHS + Taking Attendance + Ms.Bloom + Mr Tad Thompson
-Plus Race for the Cure + The Shirt
-The shirt + Pavan + Thomas Chen + Sameday + Freakish
-Plus Graffiti Removal
-Plus weeding + weeding + weeding
-Mrs. Bevill + Custodians + not Janitors
-Stand in line for lunch + THE Pizza Line
-Plus running towards the lunch line
-Plus leaving for lunch early
-Plus outdated milk + green
-Announcement + Martha Watson+ Mark Ray
-Mark Ray + Media Center
-Market Place + Mr.Keidi + Talent Show
-Plus Natalya Skiba + Credit Union
-Plus no college bound notebooks
-Plus Pledge of Allegiance + National Anthem-Walless classrooms
-Walless Skyview
-Plus pliable screens
-Plus movable cabinets
-Plus transparent curtains
-Yearbook signing
-Last minute of school yelling bureaucracy
-Senior awards night
-Baccalaureate
-Students in cap/gowns
-Grad rehearsal + senior barbecue + ketchup
-Graduation 05 + Stuck on the bus + heat
-Plus cords/tassles + flying ever where + wind
-Plus walking across the stage + three times
-Plus Pavan + Ryan + Nikki + Spoems
-Plus listening to 400 names
-Plus pictures + picture + more pictures
-Grad Party 05 + Lots of thanks
-Plus Chad Wyszinskis mom + Kendall Hiller's mom + Michael Hiller's dad
-Plus Ryan Self's mom + Jared Teely's mom + Nikki Hinton's mom
-Plus singing + rapping + on the bus
-Plus poker + caricature + money machine
-Plus swimming + rock climbing + challenge obstacle
-Plus turtle balloon
-Plus Portland Spirit + Willamette
-Plus Lower deck + Karaoke
-Plus Middle deck + dance + the front
-Plus Upper deck + La view + bridge + drew twice for us
-Plus sunrise + romantic + poetic + scenery
-Plus the best ending to 12 years of unconstitutional craziness public education career ever


I promise this will be my last post on my high schools blog ever ever in my entire life

Saturday, April 02, 2005

Review: Sin City

Robert Rodriguez, the director of "Spy Kids" just made a new movie.

It's fucking sick.

And Depraved.

And gross.

And pointless.

Seriously, kids, this is some sick shit.

Women get beat a lot.

And one guy gets his testicles forcibly removed.

...


TWICE.

It's just wrong.

Also, there's no point.

Unlike, say, Pulp Fiction, or Kill Bill, or Fight Club, which tells an interesting, character driven story with semi-morals, it's just sick and offensive.

Man.

It's pretty, I suppose, but it's just so...

Man.

And there's no strong females.

Well...

The only strong females are prostitutes.

I mean, Come on.

sick.

Women get hit a lot.

argue.

Depraved.

Saturday, January 08, 2005

Review: Numero Cento e Doze: The Omen

Guest Reviewer: Petra

One of the freakiest horror movies you may ever see, this religious drama plays on your nerves and your sense of righteousness. Made in the late 1970s with Gregory Peck as Robert Thorne and Harvey Stevens as Damien, it is one of the craziest movies you might see.

It starts out in a hospital on June 6, at six am. The American Ambassador to Italy, Robert Thorne and his wife are having their first child, and a priest comes out and says the child was stillborn, however there was another child who lost it's mother. Robert decides secretly to adopt this child as their own and his wife, Katherine, never finds out.

It moves along a little later into Damien's life and the family appears very happy - Robert becomes the ambassador to Britain and Damien lives with his family, not knowing any different. But then the nanny commits suicide and their lives are turned upside down. Damien's mother starts going crazy and believing that her child is evil. Nah really? So then with the help of a photographer, Amb. Thorne heads to Rome to discover the true nature of this child.

I first heard about this movie from my parents who said it was the scariest movie they had ever seen, so I was expecting it to be "Tomie" scary. (I'll review Tomie after this). But it's not. Using imagery such as rottweilers, an evil nanny and religious icons, most of which don't exist, it really freaks you out. The special effects are average, but all right for the late 1970s. The film quality is excellent and the cinematography is excellent. I really was scared as the dogs attacked, though, one could see minor things such as the horny dogs or the cameramen in the background. This movie was psychologically thrilling movie right down to the very end. You may know the ending, but I'm not going to give it away for those who don't know... until I review the Omen II.

This movie is a definite watch. Go rent it. 4 and a half Alps (AAAAa)

Monday, January 03, 2005

Review Numero Cien y Once: Collateral

Probably the most impressive thing about this movie is that it had the potential to be so terrible, but it managed to avoid all of the genre pitfalls and the end result is a movie that manages to be both exciting and compelling. For that alone, I award it three Alps.

The next two will be hard-earned by the end of this review.

Collateral starts innocently enough - Jamie Foxx is a cab driver, who takes an attractive lawayer across town and has a conversation about dealing with stress in life, and how he likes to keep a little postcard in his visor as an "escape" everytime things get rough. She talks about her stressful life, and he gives her the postcard. Aww. She gives him her card as she leaves, and Tom Cruise with Gray Hair walks down the steps and into the cab.

Tom Cruise hires the cab for the night by tossing around a bunch of hundred-dollar bills, and away they go to the first of five stops that night. Everything is going smoothly until the body of the guy that Tom Cruise shoots at the first stop falls out of a window and onto the cab. Oops. So now the secret's out - Evil Tom Cruise is an assassin with five people to kill in one night, and Good and Righteous Jamie Foxx is the innocent driver who is forced to take part in the evil scheme.

Dun-dun-DUN!

Everyone knows Tom Cruise can act, but even he has to step aside for Jamie Foxx in this movie. Apparently, everything this man touches is perfect. In the establishing scenes he quickly becomes a nice, likable, down-to-earth guy with hiw own dreams and aspirations. Foxx and the writers make quick work of building the character in the minds of the audience as the regular Joe, and that helps the movie immensely as is internal struggle reaches its crescendo. Over the course of the movie he has to make a lot of decisions about what he can let Cruise's character get away with, and as he realizes the control he has over the situation, everything that he does to try and stop Cruise makes sense - and it's all because of those establishing scenes.

Not only that, but the writing remains consistently perfect throughout. Not only is the dialogue completely ham-free, but the pacing is excellent. The conflict with Foxx randomly picking up a gun and plugging the villan; it's a lot more subtle than that. Before he can stop the evil force that Cruise's character embodies, he first has to realize the full extent of what will happen if he doesn't act. After that, he knows that he can stop Cruise, but he's afraid of what might happen if he tries. That's where the influence of the establishing scene kicks in, as we empathize with his struggle and ultimately his decision. It's really amazingly done.

A lot of what comes in between the key scenes is even better than that. After talking to Foxx's mother and realizing that a lot of what he had said about his future plans was not true, Cruise delivers some excellent dialogue about the choices that people make in life, and how everything you experience is the direct result of everything you do. At first glance this sounds a lot like the sort of bullshit The Matrix tried to spout, but here it's much more well-done and much more meaningful than that. In Collateral all of these things are applied to one man's life, and that man is one that the audience already cares about. We see how he has these dreams, but Cruise tears them apart by saying that if he hasn't already done these things, ne never will; that so many people have dreams and fail to achieve them. It's just more elements that combine to drive home the empathy for the main character.

All of these things combine with a few good action sequences to make one of the best films I've seen in a while. It's not often that you get writing this good combined with an actor as talented as Jamie Foxx, and everything in this movie works because of that critical pairing.

The Verdict: Five Alps (AAAAA).

Sunday, December 26, 2004

Review Numero Cien y Diez: Bosk's New Vinyl Records


Guest reviewer Bosk

Before I start out, I should mention that I am going to try to review something I haven't reviewed before, namely a record. Yes, one of those big black vinyl records. I brought home my mom's old record player from my grandparents' house last August and until today I had been content with my mom's old record collection (with selections like Bachman Turner Overdrive, Earth Wind and Fire, Chicago, Elton John, Barry Manilow and a whole bunch more that I can't think of off the top of my head. But anyway, I was down in Portland today with some time to kill, so I went into Everyday Music and bought a few new records.

First of all, for the price, these records are amazing. Granted, they are slightly used and have a few small scratches, but that's not surprising for 20 year old records. The pops and clicks aren't that big of an issue, they really don't interfere with the music itself. If I could get a decent CD for $2.10, I would have a lot less objection to buying music. Suck on that, RIAA.

The first record I bought was reccomended by my dad, The Alan Parsons Project - Edgar Allen Poe. Produced in 1975, the entire album is based on Poe's poetry, which in my opinion, kicks poetic ass because I can actually understand it. Half the tracks are purely instrumental with themes inspired by the likes of "Fall of the House of Usher" and some contain lyrics that mimic the poem. Alan Parsons worked as an engineer on The Beatles' "Abbey Road" and Pink Floyd's "Dark Side of the Moon", so that should give you a good idea of his influences. Highly reccomended!

The next two records are by The Police: Zenyatta Mondatta and Synchronicity. Again, the prices were in the $3 range, a steal compared to what either of these early-1980s recordings cost on CD. With songs like "Don't Stand so Close to Me" and "Every Breath You Take" these two records are definately worthwhile. I certainly hope those songs sound familiar to some of you. If they don't, then maybe you'll recognize Sting as their primary writer. For fans of the early 80s style and The Police these two records have a good mix of classics and songs I've never even heard of.




...to be continued...

Sunday, December 19, 2004

Review Numero Cien y Nueve: Star Trek - Nemesis

Every once in a while there's a movie that you get really excited about, and the previews look like it's going to be the best thing ever, and you read every interview, closely examine every publicity still, and finally you get to see the movie, and it's really one of the more lackluster things you've ever seen in your life.

For a lot of us, that was what it was like to see the Matrix sequels. But my personal torment was Star Trek: Nemesis

That's not to say that it was a particularly bad movie, because it really wasn't. Nemesis was pretty solid in a lot of areas and if nothing else was better than its predecessor, Insurrection. But for all the hype it got as the phenomenal tenth Star Trek movie, Nemesis just wasn't that good.

The story starts out similar to that of The Undiscovered Country - the Romulans, longtime enemies of the Federation experience a disaster, which is quickly followed by a governmental overthrow and an offer of peace. This catches everyone off guard, and our valiant heroes are sent to extend the first olive branch. Once they arrive, however, they are greeted by Shinzon, the new leader of the Romulans, who to put a long story short is a clone of Picard and started the peace process as a rues - what he really wants is domination of everything, and he intends to start by destroying Earth with this absolutely freaking huge ship he built. Aaaaaaaaand, we have a plot.

This particular story is nothing phenomenal, and is about as intellectually important as an episode of Spongebob Squarepants - the movie really doesn't have much to say, which is disappointing given the last few series entries. However, don't be fooled into thinking that the writers will not frantically try to cover for this fact with a bunch of self-important dialogue. Fantastic lines like, "Our eyes affect our lives, don't they?" will blow you away in sort of a "No shit, Sherlock" sort of way. The powers that be thought this particular line was important enough to open almost all of the theatrical trailers, which is really indicative of the sort of writing present in Nemesis. Where we once had really great, well thought-out storylines, we now have what's basically an action film with a bunch of lame little attempts at being interesting inserted throughout.

However, the writer was obviously a Star Trek fan in some respects - the characters are once again perfectly written and acted, and nothing seems out of place. The inclusion of several new characters such as the titualr nemesis Shinzon are also well done, but one particularly noteworthy addition os the adnroid B-4, Data's brother so to speak who is found in several pieces on the surface of a barren planet. His brain is considerably more simplistic than Data's, and he doesn't catch on to things very quickly. He also develops the childlike habit of constantly asking "why," which is charming at first but quickly becomes irritatin when the device is used over and over in several scenes.

Why am I even wasting my time with this? The actors have never been the problem. In Nemesis, all of the flaws come from the writing and this half-assed thing they call a plot. It's like getting a bunch of friends together to watch the Superbowl. Everyone's there, you're having a great time, and you love to hang out with all the guys you know, but then someone has this really stupid idea: "Hey everybody: Let's watch the Superbowl!" And then you do, and you regret it because there's really nothing to it, the halftime show is boring, and so are the commericals thanks to the new threat of FCC fines. All in all, what you do ruins the experience, desipte all the great people you're with, and that's exactly what it's like to watch this movie. It's just a bunch of people shooting each other in space. That's it. Story over.

The Verdict: Three Alps (AAA). Like I said, it wasn't terrible. But it so wasn't good.

Saturday, December 18, 2004

Review Numero Cien y Ocho: Star Trek - Insurrection

I once read a review of this movie that said something to the effect of: "The previous movie, First Contact was really good, but for Insurrection it seems like the producers just said, 'Hey Frakes, why don't you get the boys together and make another one of them space pictures.'"

Yeah, that about sums it up.

This particular adventure sees our valiant heroes investigating an incident on a utopian planet that sits in the middle of the Briar Patch, a huge cluster of nebulae full of volatile gases. They learn that there is a conflict over this planet - namely that the inhabitants, the Baku are being pushed out by the efforts of another alien race, the Son'a and the Baku don't like it. But of course, that's not the whole story. The planet has some sort of resource that renders its inhabitants immortal, and the Son'a want to harvest that resource at the price of leaving the planet completely barren. Not only do we have a plot, we also have a moral dillema. Where's Dr. Laura when you need her?

As boring as this movie sounds, it really, really is. There are a few interesting sequences and some action interspersed, but mostly it's a bunch of exposition and a lot of existential pondering about the joys being immortal and the ability to "live in the moment." While all this may be well and good for a philosophy major, and while I do admire a movie that is able to take on themes like that, Insurrection lays it on immesurabl thick, and it's easy for a viewer to feel swamped by what seems at first sight like a huge load of bullshit. Not only that, but this movi is riding on the heels of First Contact, which was well-balanced and fairly action packed. These factors serve only to raise the bar even higher for Insurrection, and it fails those standards miserably.

Not only that, but there are some questionable plot elements present that go almost entirely unexplained for the course of the movie. At the beginning Worf just suddenly appears, despite having obligations elsewhere, and despite the fact that his post is normally filled by someone else. Additionally, the beginning of the movie sees Data going haywire on an undercover observation mission on the Baku planet, but there is almost no explanation as to why they were there to begin with, and later on we even find out that all the secrecy wasn't even necessary. Several little nitpick points throughout the movie combine to create a seemingly random sequence of events, and overall the usually well-tailored plot can feel a little disorienting.

On a better note, the cast reunites to dirve home the message that they are not your father's Shatner - that is to say, they don't suck at acting. All the line reading and the rest of whatever actors actuall do is very well done, and always up to this cast's usual standards. In fact, if there is any constant with this particular Star Trekcast it is in their ability to put on an excellent perfomrnce in every way they can. There are no half-assed members of this enotourage. Everyone is in top shape, and it really serves to the greater benefit of the film.

Unfortunately in this case, even a great set of actors can't save this movie from its own shortcomings. Flaws in the plot and an overall sense of confusion and boredom prevent Insurrection from being the movie it could have been if it didn't suck so much. Better luck next time, I guess (Spoiler: Not going to happen).

The Verdict: Three Alps (AAA) for a thoroughly average movie.

Friday, December 17, 2004

Review Numero Cien y Siete: Star Trek - First Contact

Oh, joy! Another really good movie. Of course, that just means the next two will be bad, but I'll burn that bridge as I cross it.

The beginning of First Contact sees our valiant heroes flying around in their brand new ship, which s a lot flatter, longer and cooler than the other one. Seeing the new version, you can hardly blame them for crashing the older model into a planet. It was ugly, clunky, and I bet it got terrible antimatter mileage. And the bulkhead panels? So 1986.

Our valiant heroes and their fancy-ass new ship are out in the middle of absolute nowhere charting some whatever science thing. They know that they could be a lot more useful somewhere else, and the people giving them orders know it, but the powers that be want to keep our valiant heroes out of the way. Why? Because the Borg are stirring up shit again, and they don't want Bald French Shatner to be a part of it. Bald French Shatner, as is the trend with Captains of Enterprises considers obeying these orders for about five seconds before deciding to fly home and help out.

Good thing he did, too. Earth is being attacked by a Borg Cube, and everyone else is having a hell of a time with it. Fortunately, Bald French Shatner knows everything and he's, like, the best Captain in the world, so he teaches everyone how to blow it up. Worf's ship is hit by a flying shard of plot device and he beams aboard just in time for our valiant heores to follow an escaping borg ship into a time portal. They all fly back in time to just days before humans discovered how to fly faster thean light speed and had their first contact with aliens. The Borg want to prevent this from happening. Bald French Shatner, who knows everything, blows up their other ship, but the Borg are unaunted. They just take over the fancy-ass new Enterprise instead. So now our valiant heroes have to get the Borg off their ship, puls prevent them from preventing the first lightspeed flight. Aaaaaaaand we have a plot.

This is really one of the good ones, despite what I may make it sound like. It's a success in the same way that The Wrath of Kahn was a success - there's good acting all around, the plot is intelligently written, the conflict is compelling, the enemy is both readily hatable and totally ruthless, and the action is perfectly balanced with all of the other plot elements. Everyone returns in their originaly roles, as I'm sure that's a contract stipulation, and they all perform admirably. Fans had a lot more time to get used to this cast before they made their big scree debut, and the characters themselves had a lot more time to grow. While it would be impossible to re-create some of the dynamics that were present in the original series, this cast does well in creating new niches for each other that help bring out the best in each member of the ensemble. The relationships and personalities are distnict and clear, a sign of not only good acting but good writing. The new series of films has also done away with "scenery" characters like the original's Uhura, and every person on set has a significant part to play - no one is left sitting in the background. This creates not only a greater bond with all of the characters rather than just a core group, but allows for more dynamic interaction and situations. Writers really limit themselves when they create a cast of mostly one-dimensional characters, and having expanded like this they have a lot more tools to use in constructing the story.

As counterparts to our valiant heroes, the Borg are an amazing enemy. Everything about the Borg was redone for the movie, including makeup and set design, sound and visual effects, and acting directions, all of which were changed to shift the image of the Borg from sort of a "mysteriously dangerous" force to outright dangerous. It is more oobvious here than in the TV series that they are a force to be reckoned with, and the movie does more to show that it really is the particualr actions of the characters that finally bring down this enemy; that is to say, it's not something that just anyone could have done. The Borg have been molded to fit the people and situations that the movie has them facing, and it makes for a much more believable and altogether frightening enemy. In particular, Alick Krige makes an excellent performance as the Borg Queen, who controls all of the other Drones and serves as the heart of the Borg, the nemesis to our valiant heroes.

This being a Star Trek movie about time travel, it tries to tie in a discussion of the perils of meesing with the past, but that's pretty boring and overdone. Forutnately, that's really the only thing the movie gives audiences to complain about. Everything is covered in goodness - the writing has improved significantly over the last several films, the acting is perfect, and all of the elemental design is extremely well-done. I wouldn't go so far as to call First Contact the best Star Trek, but it gets as close as you can get without being repetitive.

The Verdict: Five Alps (AAAAA).

Thursday, December 16, 2004

Review Numero Cien y Sies: Star Trek - Generations

Ahh... finally a new cast to open our new Star Trek movie. The credits roll over a wine bottle flying through space. Thing strange about that, I guess. I mean, the bald guy is French, even though he sounds British and lives in America. The wine bottle is flying... spinning... flying... shiny... flying... BAM! It explodes against a hard metal surface. Oh, I get it. They were christening a ship. Those crazy sailors. Up on the bridge of the ship we see a ton of reporters and our guest of honor...

What the hell? Shatner? Isn't he dead yet? Apparently they re-animated his corpse to make appearances at special occasions. Either that or this is sort of a prologue in which he's still alive and attending the maiden voyage of a new Enterprise, which to make a long story short is leaving home woefully unprepared, but decides to answer a distress call anyway. Bad idea - they find a ship trapped in a weird energy ribbon, and when they get too close it starts to damage them. Shatner volunteers to fix whatever random part they broke, since apparently retired ship Captains are the only people qualified to do menial repair tasks. The energy thing hits the ship again, rips off a big part of the hull, and Shatner is gone.

Now it's the "present," whatever that means in these movies, and everyone is out investigating a derelict space station. They beam over and find out that everyone is dead except this crazy guy who turns out to be evil, but they save him anyway because that's what they do. This space station was apparently involved in an attempt to blow up the sun that it's obriting, which worked judging by how the sun blows up and they have to haul ass out of there. After doing some crazy astronomy, the figure out that the crazy evil guy is trying to aim that same band of energy at a planet so he can get caught in it. Aaaaaand, we have a plot.

As it turns out, the band of energy is this weird thing that puts people in sort of a stasis where they are able to live out their ideal life - whatever would make a perfect existence for them, that's what they get. The crazy evil guy wants to get back to that because he remembers how blissful it was when he was on that ship that Shatner disappeared trying to save. Unforutnately, in order to get back into this energy ribbon, called the Nexus, he has to destroy a well-populated planet. Given this sort of motive, this particular crazy evil guy really isn't the best the series has ever seen, but as a character he' well rounded and Malcom McDowell plays him excellently. He's nowhere near as good as Khan, but he's a pretty convincing runner-up.

The movie itself plays more like an episode of the TV series than an actual movie, although it is not without worthy elements. For instance, there is one particular sequence that involves a crash landing on a planet, which would not have been nearly as good had it not been played on the big screen. As far as production values, Generations leaps miles ahead of its predecessors, and not all of that is due to the next generation of technology. Despite a plot that's 3/4 baked at most, the producers really worked hard on some elements that they knew couldn't work on a TV series but really wanted to roll out - things like the aforementioned crash sequence or the effects on the Nexus energy band - a lot of things come together to make this a really good movie at the core, even if there are a lot of rough edges.

As for Shatner's inclusion, it was a questionable decision at best. He supposedly joins the entourage at the end in order to save the day, but his role in the climax really has nothing to do with any of what his character is famous for. In the end, all Shatner really is for this movie is a promotion device, and the movie would have stood well enough on its own without him. Still, for diehard fans of the Star Trek series, a reunion with everyone's favorite Shatner is never a bad thing, so most of the factors balance.

One character that really adds a lot of personality to the movie is Brent Spiner as Data, the android and the new cast's surrogate Spock. What really makes the character interesting for this installation is that he elects to install his "emotion chip," which as the name implies allows him to experience a full range of human emotions. Seeing him experience some of these for the first time is usually pretty funny, and often acts as a convenient plot device to move either the sotry or the character development along. Brent Spiner is really able to show off in this role, and he really turns out to be one of the best actors the new cast has to offer.

All in all, Generations turns out better than some of the movies in the franchise, but far from the top of the pack. An effective first movie for the new cast, but on its own it's nothing special.

The Verdict: Three Alps (AAA).

Best Quote: Data singing about scanning for life forms. You have to hear it, but it's funny.

Wednesday, December 15, 2004

Review Numero Cien y Cinco: Star Trek VI - The Undiscovered Country

The only thing to make a more dramatic comeback than this was when the Red Sox won the World Series.

Fans of the Star Trek franchise could not ask for a better movie than this one, let alone a better follow-up to one of the worst movies of all time. The Undiscovered Country is, in my less than humble opinion, perfect. Just as there was nothing good about The Final Frontier, there is nothing bad about this closer to the classic series of films. Even Shatner pulls through and delivers a performance that isn't terrible. I'm going to say it again, and it's true - this is a great movie.

The last adventure of our valiant heroes begins with an exploding moon - not ours, but a Klingon mining moon in orbit of their home planet. The explosion if huge, practically destroying the small body and sending out shockwaves which meet the newly-promoted Captain Sulu's ship with full force. A little investigation on the part of the little Captain concludes that a lot of shit just hit the fan, and they need to call home imediately.

Back on Earth, the rest of our valiant heroes enter a briefing room and gripe about being close to retirement and a lot of other things that old people say when they want to drive home the fact that they're old. In the briefing, the audience... I mean, our heroes are informed that the Klingons, age-old enemies of anything that moves, are in danger of extinction due to the accident, and want to make peace. Shatner thinks that this is a terrible idea, since they killed his son and all, but the powers that be inform him that, due to unlikely circumstances, their choice for emissary to the Klingons will be... wait for it... the racist Shatner. Shatner is annoyed, but really doesn't have much of a choice. So, he flies out there, invites the Chancellor and his staff for dinner, find out that the peace process will be long and tumultous due to rampant racism, and then a lot more shit hits a lot more fans.

The Enterprise fires on the Chancellor's ship, and then two masked officers beam over, kill the Chancellor, and disappear. Kirk and McCoy go over to help, get arrested, and ladies and gentlemen we have a plot.

Even from this brief synposis, the major point of the movie is apparent. It is meant to reflect our own conflicts with other nations and races due to differences that in this day and age seem entirely arbitrary. Shatner and his companions don't like the Klingons because they've always been the enemy, and that's just the way it is. The fear integration because it means the shattering of everything they knew about the state of the universe. Conversely, the Klingons don't like the humans because the humans have always remained hostile and defensive. The fear integration because they see only what they have to lose - a large empire, part of their own sovereignty, and their status as the most feared race. As one character puts it, they believe that they will become "the alien trash of the Federation." Spock, acting as the neutral observer, fails to empathize with the fears of either side. While he essentially understands the fears of both races, he sees things in terms of what each stands to gain from a peace initative - namely, expanded empire and the ability to reduce costly military forces for the Federation, and survival for the Klingons. This being the case, he cannot understand why anyone would be opposed to peace, as the positives far out weight the percieved negatives.

Unfortunately, it doesn't always work out that way. However, Spock makes a valiant effor to remain composed and neutral while at the same time acting the best interests of his friends (who have literally saved his life on numerous occasions) rather than directly for the greater parties involved. This is where Leonard Nimoy really comes into his own. The character of Spock is executed flawlessly - every line delivered with perscise inflection and timing, every expression on his face or move he makes perfectly fitting the dialogue and the character as a whole. Nimoy is really what makes this movie work, as he takes a much more central role in the main plot. Not only that but all the writing - not just for Spock but the entire movie - is exceptionally well-done. Plot details are revealed on a perfect schedule, conversations and developments progress in a visibly logical manner, and most importantly (especially since The Final Frontier missed this mark horribly) the dialogue for every character remains in-character. Apparently this is a tough skill to master, but it serves well to the benefit of this movie.

Even with such a great performance by our valiant heroes, it wouldn't be a great movie without an equally great villan, and The Undiscovered Country delivers a nemesis who would give Kahn a run for his money. The central antagonist, a traitorous Klingon who seeks to destroy the entire peace process (and has an odd vendetta against Shatner himself) is delightfully evil, and character is as fully-fleshed as they come. Everything he says is dripping with delicious malice, and his habit of frequently quoting Shakespeare add not only depth but a lot of enjoyment to the character. Star Trek VI's villan stands as proof of spectacular writing all around.

Series fans would have asked for nothing less than a perfect movie to serve as the final chapter in the long saga of our valiant heroes, and a perfect movie is what they got. I'm going to keep saying it, and it's true - there is nothing bad about this movie. From the plot to the writing, and even the acting on the part of some of the more infamous stars of the series, The Undiscovered Country is pure gold not only as a film, but as a reflection of the themes that have plagued the western world for millenia. The ability to connect to reality in a meaningful way is one of the only marks of a great movie that the Star Trek series has missed over the years, but this last installment finally picks it up and turns it into something that few could have imagined.

The Verdict: Five Alps (AAAAA).

Best Quote: "You have not experienced Shakespeare until you have read him in the original Klingon!"

Tuesday, December 14, 2004

Review Numero Cien y Cuatro: Star Trek V - The Final Frontier

Shatner wrote this movie. End of review.

Not really. Unfornately for all of us, there is a lot more to be said.

Star Trek V: The Final Frontier has to be one of the worst franchise movies ever made. How this even made it past the concept phase is a mystery to all. The dialogue is terrible, the plot is hilariously stupid, and the acting from every one of these people is some of the worst I've ever seen. There is nothing redeeming about this movie. I watched it again a few years ago, thinking it couldn't possibly be as bad as I had remembered. Guess what? It totally was. It's boring, idiotic, and poorly executed - in short, one of the most questionable decisions that Paramount Pictures has ever made.

This two-hour suckfest beings with an ugly, toothless guy out in the middle of the desert manually drilling for... rocks, apparently. All of a sudden, our of the blue, a mystery man comes riding in on a horse, and speaks all mystically about destiny and the meaning of life. He then asks that the ugly driller "share his pain, and gain strength from the sharing," which the ungly driller does. Then he gets down on his knees and cries, and apparently he has been Saved by the power of God or something. Just five mintes in, you can already tell it's going to be a long movie.

The next thing we see is a montage of Shatner climbing the sheer rock face of El Capitan alone with no ropes. This in and of itself sets the tone for the entire rest of the experience. Shatner's hubris in assuming his character could do something like this is match only by his ineptitude at writing beyond it, as he fully demonstrates in the scenes to come. As the credits finish, good ol' Spock flies up wearing a pair of - get this - rocket boots, and greets the Captain. Shatner is understandably annoyed at being visisted by a flying Vulcan while he's clinging for his life to a perfect 90-degree cliff face. Long story short, he falls off, and Spock uses the boots to rescue him just feet away from his death. Yay, sort of.

Later we sit in as our valiant heroes, Shatner, Spock and Dr. McCoy roast marshmallows around a campfire, make fun of how little Spock knows about camping and stuff, and engage in dialogue that's entirely out of character for all three of them. This is especially true of the good Doctor, who turns from saracstic to outright asshole in about three seconds, calling Spock out about every little thing he does wrong. None of it fits, and viewers have to wonder how these people ever became friends if this is what they're really like. Thankfully, this scene relegates Shatner to the minir role of telling the two others to shut up over and over again until they finally do it.

Man, I'm already tired of recapping this movie. The rest of the plot goes like this: The mystery man, who lives on the official "Planet of Peace" has grabbed a bunch of cultists and taken over the only city. The ambassador there calls for help and even though the brand spanking new Enterprise is in a total state of disrepair, they are... wait for it... the only ship close enough to go help. As it turns out, going to help is a bad idea because the Ambassador is a cultist too, and it was all an elaborate plot to steal a ship and fly to the center of the galaxy, because apparently that's where God lives.

Are you beginning to see why this movie is so bad?

I'm going to keep saying it, and it's true: There is nothing good about this movie. The way Shatner write all the characters, no one is who they used to be. He obviously has no understanding of effective dialogue and character development, and as a result all the people in this movie might as well be from another series altogether. If we're to believe Shatner's interpretation of events, the characters have experienced the following life-altering personality changes since the end of The Voayge Home: Spock is dumber and less understanding of his human companions, McCoy is an asshole drunk, Scotty is just a bumbling space technician, Scotty and Uhura are having an affair, Uhura has become an anti-feminist skank, Sulu and Chekov are both mindless slaves, and Shatner is smarter than all of them combined. Makes sense, right? No. Nothing works. None of the character dynamics that have held the series together even have a cameo in this movie. Nobody interacts like you expect them to, nobody reacts like you want them to, and what they actually wind up doing is confusing and painful to watch. There is conflict for the sake of conflict, despite all the narrative precedents against it. There are situations for the sake of comedy, despite the dual flaws of being unfunny and unbelievable. This is like the Star Wars Christmas Special of the Star Trek movies.

Not only does Shatner butcher the characters and situations, but the story itself is ridiculous. The idea that an insane ideologue could convert an entire ship's crew with a well-stated PA speech is absurd, as is the idea that they're flying to the center of the galaxy to find God. Not only that, but the progression of events that gets them there is amazingly over-the-top. There's a good forty-five minutes of botched covert-ops elements that feel completely out of place given what movie we're watching. Lacking any situations with the gravity of any of Shatner's "risky maneuvers" for which the character has become famous, the movie takes scenes that would normally be nothing less than a minor setback and treats them like life-and-death situations. Things like, God forbid, landing a shuttle without automatic braking systems are given dranw-out, "suspenseful" sequences in hopes of re-creating some past adventures. Unfortunately, the best they can hope for is an accident report and some Tylenol, because the results are nothing to write home about.

If anyone was hoping for a semi-logical claimax to this cinematic catastrophe, I've got some bad news for you sunshine: Pink isn't well, he stayed back at the hotel. We've been sent along as a... oh, Shit, I think I just fell asleep while I was writng this. That's what movies like this one can do to even a battle-hardened reviewer such as myself. The end of The Final Frontier is, if you can believe it, worse than the events that bring us to that point. For reasons that escape me, Shatner and company ride along with Alien Charles Manson to the surface of the planet in the middle of the galaxy where God lives. You know the one, right? When they arrive it looks distinctly like Arizona, only more barren. They walk around with the help of a magic invisible compass that leads them to a circle of stones. They all look confused when suddenly Alien Charles Manson bellows, "WE HAVE TRAVELLED FAR!" Aaaaaaand nothing happens. He then tacks on in a meek little voice, "By Starship," and all of a sudden a bunch of giant stone pillars appear, and the Almighty God appears before them. Sort of. It turns out that "God" is actually "An omniscient alien who wants to steal a ship and escape from his prison." He attacks a couple of people, and his Godliness is questioned, and then Shatner fights with him... and wins. That's right: Shatner fights with an omniscient alien and wins.

Then they all fly home.

Do I really need to say anything else? There is nothing good about this movie. It is bad in every way it is possible for a movie to be bad, especially a franchise movie. It's just so.... ugggghh, I can't even put it into words. This is a horrible, horrbile movie.

The Verdict: One small Alp (a). And I don't give those out very often.

Monday, December 13, 2004

Review Numero Cien y Tres: Star Trek IV - The Voyage Home

Weeep... Woop. Bleeee... woomp.

Whales in Space.

Star Trek IV: The Voyage Home opens on a giant log floating through space, making a wide variety of strange noises. We get a nice long series of shots and amazingly nerdy dialogue to establish that it is sucking up electricity left and right. This wouldn't be so bad, except that our loyal, hardworking Starfleet scientists determine that the giant space long is headed... wait for it... directly for Earth. Uh-Oh!

Unfortuately for Earth, our valiant heroes are on Vulcan, plugging Spock brain back into his head and maiking sure it all works right. Turns out - it does. So they're all ready to fly back home, in a stolen Klingon ship no less, and everyone's a bit nervous about being shot down. Fortunately, they have a cloaking device. Advantage: Heroes. Shatner and Compmany arrive at Earth, only to find out that the Giant Space Log is causing storms, shutting down electronic devices, and wreaking all sorts of other miscellaneous havoc. Spcok in his infonite wosdom figures out that the Weep... woop sounds are actuall whale calls, and the Giant Space Log is out hunting for long-exticnt whales. The only logical answer: Our heores must fly around the sun so fast they travel back in time, and then pick up some whales, and then bring them back. Aaaaaaand that's the plot of the movie.

This was my favorite Star Trek movie for a long time. Then, I realized what actually makes a good movie, and I haven't watched this one in years. The focus of this installment is on the comic relief - the franchise just got done with two intense movies, one of them boring as hell, and so they needed a break so to speak. Apparently, what Paramount calls "taking a break" the rest of the world calls "A Jerry Bruckheimer film with fewer explosions." The Voyage Home isn't boring like it's predecessor, nor is it as unabashedly horrible as its successor. It has a lot going for it, and it's an incredibly fun movie the first few times around. But when you get right down to it, The Voyage Home really isn't as good as it wants you to think it is.

The major problem with The Search For Spock was the lack of the titular character, and he's back in the sequel. That alone is enough to skyrocket this flim ahead of the previous iteration. Not only is he back, but he's not quite at home in his own head yet, and he's in the 80's. His failed attempts at sewaring, dealing with punk rockers, and trying not to seem like a burned out cokehead are fun to watch, and they add a lot to the film in terms of contribution to character development and interaction. Leonard Nimoy executes the role perfectly (although that might be because he doesn't have to actually act all that much), and his performance really holds a lot of the movie up. In a rare change, Shatner often acts as Spock's "sidekick," trying to persuade him to "go with the flow" and not act so weird, but in the end it is the latter who manages to make everything happen.

The movie makes attempts at giving the other characters expanded roles, but most of them fall flat and are pretty boring compared to the misadventures of our two champions. The only real worthwhile bit out of all their subplots is a brief scene where Chekov, the Russian, is asking a cop for directions to the Naval base and the "Nuclear Wessels." Even then, it took me years to really "get" the Cold War humor in this scene, and I guarantee the joke won't age well. Another semi-funny scene involves the famous engineer Scotty having trouble with a computer that won't accept voice commands; but again, with all our advances in technology, it becomes less and less unreasonable an assumption.

Fortunately, the production quality is far above that of the previous movie, and all of the sounds and visual effects are reasonably well-done. Some effects didn't outlive 1986, such as a garabge can crushed under the weight of an invisible ship using stop-motion fliming. However, this stands as a rare exception to the rule, and the rest of the film leaves little to complain about.

The real problem with The Voyage Home comes not from the production or - for the most part - the acting. Rather, it's the setting that really removes this movie not only from the expectations of fans, but the core of what the rest of the series is all about. When you get right down to it, Star Trek IV is just about a bunch of clueless space nerds walking arouns San Fransisco. There are no aliens, no space battles, or any of the other elements that have become the mainstay of this franchise. In this, The Voayge Home attempts to be the "new" Star Trek, but the result is that fans feel alienated, like the film they just saw wasn't really Star Trek at all; at best, it's a well-produced Back to the Future rip-off. The fact that it's different can't make this movie stand. A lot of people who think they sound insightful say that "The more things change, the more they stay the same," but in this case it's not so much a law of nature as a balance that the producers have to strike. If they stick to closely to the formula, the movie feels "done," and no one is interested in it. At the same time, though, if they change it too much then it will feel completely different, and viewers will forget what they're watching. As a result, they'll feel confused about where the franchise is headed, and maybe even cheated in that they didn't get the "Star Trek experience" out of their movie. With The Voyage Home, the powers that be erred to far in favor of change, and the movie suffers greatly as a result.

The Verdict: Three Alps (AAA). Not the worst, but far from the best.

Best Quote: "We're looking for the Nuclear Wessels. Do you know where they are? Nuclear... Wessels! Can you help us?"

Sunday, December 12, 2004

Review Numero Cien y Dos: Star Trek III - The Search For Spock

So at the end of the last movie, Spock died and it was really sad. Shatner cried, and then he gave a speech, and then his face twitched. Spock's Torpedo-Coffin landed on the new planet. I smell a sequel.

As it turns out, Vulcans don't really have to die as long as they pass on their soul to a temporary host while the body is restored to life. It seems that Spock chose good ol' Dr. McCoy, who is going insane and can't figure out why. But Sarek drops by and explains everything - that they have to get a ship, fly to a forbidden planet, retrieve Spock's body, and fly it to Vulcan to be rejoined with his soul.

Oh, and there are a bunch of Klingons who want to kill Kirk on the way.

And that's the plot for Star Trek III: The Search for Spock, which is really not as interesting as it sounds. This movie does feature some neat pieces like the introduction of Earth's gian orbiting space station, a great Enterprise-stealing sequence, and Kirk's actual destruction of the Enterprise by way of the auto-destruct system (this is not the first time he loses a ship, nor will it be the last). However, everything falls apart in the pacing of the story, the actual content of said story, and a lot of other mitigating factors that combine to make this a less-than-worthy sequel to the phenomela Wrath of Khan.

Being that Spock is technically dead, he doesn't appear much at all in the movie and only has about three lines of dialoge, all but one of which are lifted from the prequel. The severe lack of Spock is a huge liability to this movie. Spock is the variable that balances the equation, the foil to all those crazy humans and the straight man to all those comedians out there. Removing him from this movie ruins it. The entourage doesn't work without any one of its key members. Take away Shanter or McCoy and the same thing would happen - nothing would work, because without everyone the entire group is useless. Even Uhura - who spends 98% of her time trying to blend in with her chair - is absolutely essnetial to making the entire thing work. It's like Ocean's Eleven without Brad Pitt, or Fight Club without, uh, Brad Pitt. Nothing works like it used to, and the movie fails because of it.

One of the greatest flaws of this movie, however, has little to do with the writing or acting. All of the Star Trek movies were made in the 80's, but all of them aged remarkably well - except for this one. Star Trek III is replete with flaws. From goofy sound effects when a ship breaks down to set pieces visibly moving on wires and strings, a lot of bad elements come together to make the movie look and feel entirely artificial. The production quality is what you would expect from an installment of the TV series, and even then it would be one of the bad episodes. Evidently they gave set designer Matt Jeffries the year off. With that said, though, some of the visual effects are fairly well-done. Computer-Generated sequences remain ahead of their time (a mainstay of the series since the first film), and the graphic artists prove capable of rendering massive, sweeping shots of scenes that just a few years previously audiences could not have begun to imagine. That, at least, is something the movie has going for it, but unfortunately the dazzling effects serve only to soften the blow of an otherwise visually painful movie.

The acting in The Search for Spock is nothing to write home about, but it at least hits par when compared to the other movies. This particular film is all about Kirk as he endures several trials and tribulations, and while Shatner is acting his ass off, a lot of the lesser players are reduced to barely-audible scenery in order to accomodate the chosen star. Shatner, for his part, is not terrible. There is one line, while he's verbally reciting a code, that is the single worst case of his famed cadence that I have ever found. He literally spits out a sequence of numbers one word at a time, leaving several seconds of dead air between each. It's enough to make the viewer feel awkward for him, and one has to wonder what it would have been like to see him on set perfoming this scene, with no soundtrack to fill in the gaps and all eyes on the actors. The worst part of the shot is the expression on his face - looking into the distance with this strange grimace on his face, which you know is supposed to say "intensity," but actually looks something more like "apatheitc bewilderment." I mean seriously - this is a terrible scene.

While you can hardly discredit the entire movie because of one Shatner, it can't be shielded from its own flaws and weaknesses, and this particular film has many. All in all, The Search For Spock is like Gene Roddenberry and Ben Stein's bipolar love child, wildly alternating between excitement and total, overwhelming boredom.

The Verdict: Two Alps (AA).

Best Quote: "Zero!... Zero!... Zero!... Destruct!... Zero!"

Saturday, December 11, 2004

Review Numero Cien y Uno: Star Trek II - The Wrath of Khan

"Khaaaaaaaannn!"

Welcome to the (second) best Star Trek movie ever.

Our story picks up with a scene strange to most loyal fans - a young Vulcan woman is commanding the crew of the Enterprise on a mission past the neutral zone, when the ship recieves a distress call from a nearby vessel. The mysterious Captain elects to break treaty and investigate, but thay're caught by Klingons and soundly defeated in a one-sided battle. Only three minutes into the movie, and everyone is already dead.

Then the wall opens up to reveal that it was all just a simulation at the Academy, with everyone's favoirte Admiral Kirk overseeing the activites.

Meanwhile, in outer space...

A ship on an exploratory science missions stumbles across the survivors of the S.S. Botany Bay and Khan, who in an episode of the TV Series had been one of many genetically engineered "supermen" discovered floating in space. He was revived by Kirk and promptly tried to kill him and steal his ship. As a consequence, Kirk left him and his people on the planet, "Buried aliiiiiiivvvvveeeee, buried aliiiiiivvvvveeeee!!!!!!!" Now Khan wants sweet, sweet revenge, so he steals the ship and heads to the nearest space station for some experiment-stealing excitement.

The rest of the movie deals with Kirk, who is dispatched to deal with Khan because his ship is... wait for it... the only one close enough, even though it's entirely staffed by trainees taking a proficiency exam. Kirk and Khan have some absolutely incredible scenes together, and they're about the best enemies ever devised. The thing about them is that Khan is a genius (bio-engineering), but lacks experience and style, which is about all Kirk has. When they face off, it's a match without comparison. It's compelling, even though you wouldn't think so. A lot of it has to do with the actors even though... well, Shatner, Kirk is actually pretty convincing this time around as the tired old sea dog who is called out for another bout. Ricardo Montalban reprises his role as Khan, and has not only the perfect nefarious accent but lends great pacing and tone to his evil monologues to his nemesis. He's as cunning and ruthless an evil genius as you could ask, and is a great asset to the film. As with most other Star Trek movies, everyone else is just sort of there - except Leonard Nimoy as Spock, who happens to be my favorite character. He's just so... logical, and he's funny without trying. In a role where he's specifically instructed not to show emotion, his character is one of the most empathetic and evoking I have ever seen. To summarize, Leonard Nimoy is a God.

None of this greatness could have come about without a fantastic sorty to draw it all out, and the story here is remarkable. Unlike that of the previous movie, which was good but a bit long and boring in parts, The Wrath of Khan manages to draw on everything that makes a good movie while still remaining true to the characters and their world. The background of the main plot is well-explained enough without having to go into great detail, making sure that new viewers can pick up on what is happening. Details are revealed well, and the story makes good use of exposition without requiring dull monologues or flashbacks - everything fits, which is a feat few modern movies can accomplish. Our hero's struggle against his vengeful counterpart is enough to pull the entire movie along, but what really makes it great is the ever-present science element. This time, it's a prototype device designed to create new, living planets from dead matter. The catch is that anything that existed in that space before will be destroyed, making it a paradoxically sinister weapon. The moral questions inherent in this twist are subtle enough to avoid preachiness, which is again something far to rare in movies.

It's hard for me to comment about music, but the score from this installment is excellent. It sounds, uh, good and stuff. I highly recommend it.

The Wrath of Khan is held by many fans to be the best of the bunch, and that's a hard claim to dispute. It has everything a good movie needs, and brings out the best in all the actors. At the very least, it makes great improvements on the first film, and actually managed to compete with Star Wars when it was released.

The Verdict: Five Alps (AAAAA).

Best Quote: "Khaaaaaaaaaaannnnnnn!"

Friday, December 10, 2004

Review Numero Cien: Star Trek - The Motion Picture

There are some Star Trek Movies that people hate, and some that they love, but there is just one that nobody thinks about at all until someone else brings it up. That one, the first movie, happens to be one of my favorites. A lot of people don't like The Motion Picture. They say it's too long, too boring, too much like a glorified episode of the series for anyone to really care. I disagree. To me, it represents some of the best things about the series, and while it may not be the greatest way to start off a six-movie orgy of Star Trek installments, it is definately a worthy member of that select group.

Star Trek - The Motion Picture picks up about two years after the original series, which I never actually watched. Pretty much everyone has been promoted, Kirk thinks he's the almight God of the Universe, and they're refitting the Enterprise for all-new wacky space adventures. Then a big giant cloud flies in from nowhere and blows it all straight to hell. The cloud, which has been flying through space vaporizing anything in its path is headed straight for Earth, which seems to be the popular vacation spot for malicious space objects. The Enterprise is the only ship within something something something (a recurring theme), and so they are dispatched to deal with this ship-eating cloud.

-BUT!-

Before they can take off, Kirk pulls rank on everyone he can find and declares himself Captain of the ship, because it just wouldn't be a movie without him. Off we go!

The rest of the movie is spent dealing with the mysteries of this alien entity, which they determine is actuall a probe, and it gathers information by vaporizing the subject of its studies and storing it in its memory banks. The crew picks up Spock on the way to the cloud, and he helps them get inside by performing a series of cool radio tricks to communicate amnesty toward the cloud. They fly inside, and then everyone drops acid. We get a montage of Magic Eye-esque cloud flybys, and a lot of other really freaky-ass stuff happens. Then, just like The Graduate, it all makes sense by the end.

I'll admit that I don't make it sould all too appealing at first, but it's not an easy thing to do. Critics of this movie are right when they say that it moves at a fairly glacial pace. Early in the movie we're treated to a long series of panoramic flyby shots of the new Enterprise which takes, I shit you not, about five minutes. After that, though, the movie gets good. Really good.

The hardest part about reviewing a movie like this is that I can barely say anything about the actual plot. Most of the fun of the movie is in watching them figure it all out, since the character interaction is not nearly up to the par it hits in the next movie. But watching the plot develop is a blast. Aside from 2001, I don't think I've ever seen a better-written science fiction plot, or one that advances so gracefully, moving from step to step in a logical order that is just on the verge of making sense, leaving you with that "what's going on?" feeling without losing (and subsequently boring) you. Everything in the story is perfectly done, and while it may not be Jerry Bruckheimer exciting, it sure is interesting.

The thing about the plot of this movie is that it brings out some of the best that Star Trek has to offer. At the core, the series has always been about a bunch of people in a ship exploring stuff that nobody knows about, and that's exactly what they do here. There are no edge-of-your seat battles or overwrought and unnecessary sex scenes. All this movie tries to be is a cerebral science movie, and it succeeds wildly as such. The high point of this movie is that is never tries to act like anything other than what it is, and it has no problem with being a nerd film. Besides, most of us like it that way.

Beware though of bad effects and overzealous sci-fi elements. If you're easily nerded out, this probably isn't the movie for you. The film tries very hard to be the same Star Trek that viewers of the series remember, and it suffers from the effort, because the Star Trek movies are an entirely different entity. Still, everything that everyone loves is still there, and they manage to throw a few nwe curves along the way.

All in all, the movie falls just on the good side of the 2.5-Alp line. It's not the best movie, but it is anything but bad. Acting is... well, Shatner, but the story is perfect, and everything you need for your nerd fest is in one box and ready to use at a moment's notice.

Verdict: Three Alps (AAA).

Best Quote: Chekov (Russian who looks like a Monkee) during a slow-motion sequence: "Tar-get-iiiiiiiiiiiiinnnnnnnnnnnnng As-ter-oid!" You have to actually hear it, but it's funny.

Tuesday, December 07, 2004

Review Numero Noventa y Nueve: Mean Girls

I cannot believe that I watched this movie. I started seeing previews for it, and my first thought was, "Wow, Lindsay Lohan is hot."

Then I started actually listening to what she was saying, and I realized that Mean Girls was going to be pretty stupid. It had almost nothing going for it - a high school comedy about girls being bitches to each other. Well, just give up the Oscar now. Even though Tina Fey wrote the movie - and Tina Fey is pretty funny - there was no possible way this movie could be good.

Well, it is my duty to report that I did in fact watch the movie (because I had no choice), and it was not as bad as I expected. However, it was still not very good.

Mean Girls is exactly what it sounds like. Lindsay Lohan plays Cady Heron, who was homeschooled by her anthropologist parents in Africa until she was sixteen, at which point she movied back to America and got to go to high school. The whole premise of the first half of the movie is that Cady is clueless about American teenage life, and doesn't fit in. Fortunately, a quasi-goth lesbian and a guy who is describes in jest as "almost too gay to function" explain everything to her, show her the ropes, and orient her regarding each of the social groups in the school.

This is where the rest of the plot jumps in. For some entirely forgettable reason, Cady decides to infiltrate the top layer of the social caste system, the "Plastics," and sabotage their popularity. During the course of her infiltration, Cady becomes accepted by said "Plastics," and soon becomes one of them. The conflict walks right up to the viewer, shakes your hand, bites your leg, kicks your ass, and then converts itself into an electric signal and is telegraphed onto the screen just to demonstrate the raw shallowness of this script.

And that's pretty much how the rest of the movie is. Everything is obvious and transparent. There are no surprises, no unexpected twists, and no unique or interesting characters. Everyone in Mean Girls is a stereotype, a cardboard cut-out of someone you knew. You have the cheerleaders, the jocks, the nerds, and the fat chicks who have no friends and eat their sorrows away. There is nobody in the middle, which is my most major complaint with every single high school movie I have ever seen. As Vanessa pointed out to me just today, not ten minutes befire I watched the second half of the movie, I don't really have an identity. I'm a nerd, but I don't want to be and I try to disassociate myself from them. All of my friends are in Debate, but I'm not in debate. I'm not a writer or an artist, and I'm anything but an athelete. I just sort of float around, spending my time with whomever's available. I'm not in one of these groups, and to tell the truth, neither are most of the pepople I know. We're all just sort of "here," and that's my biggest problem with high school movies, is that the relationship between social groups is much more complex than any writer would like to have you think. Mean Girls is no exception, and Fey is content to divide the world up into little boxes rather than recognising high school as more of a lava lamp - a bunch of freaky-ass stuff floating randomly in a confined space.

I do have to give the movie credit for having at least a few genuinely funny lines or bits, but all of them are dialogue-based rather than situation-based. Once again, everything is spoon-fed to the audience rather than allowing us to find the funny for ourselves, and again the movie takes major hits for that. It's sort of entertaining, but the entertainment is pretty shallow, and it doesn't take long for that quality to wear thin completely.

Mean Girls sounds unique in concept, but actually watching it reveals that it's just another generic high-school movie, which refuses to be honest about what high school is really like.

Final Verdict: Two Alps (AA).

Best Quote: "Wait, you're from Africa? Then why are you... white?"

Monday, November 29, 2004

Review Numero Noventa y Ocho: Half Life 2

Remeber a couple years ago when everyone saw the previews of The Matrix Reloaded, and we all talked about what a great movie it was going to be, and then it more or less sucked?

Half Life 2 is nothing like that.

A year and a half ago, developer Valve released a 30-minute proof of concept video to show off not only their amazing new graphics engine, but the awesome game they were developing. The idea was to sell everyone on Half Life 2, and it worked. We were all amazed by what they had in store for this game.

Well, it turns out we were right. It speaks volumes that I started playing this game literally expecting it to be the best ever, and by the end it had far surpassed my standards of what would have made it great. This is, by and large, the best game ever made. Period. You can talk about Halo, or Warcraft, or Whatever-the-hell, but Half Life 2 beats them all by far.

At the beginning of the game you see the mysterious G-Man from the end of the first game, who wakes you up and gives you a cryptic message about how your time has come again, and he has work for you to do. From the metaphysical place where you wake up, you're placed in a train car entering City 17, an eastern-European city which has fallen under the control of the Combine, who are running the place (and apparently, the whole world) like a military state. Some of the effects of this occupation become obvious as you pass through security gates manned by faceless, uniformed guards, who herd you into an interrogation room. There you recieve your first surprise of the game, which I won't ruin, but from there you wind up trying to escape to a safer area outside of the city. Eventually in the course of the game, you find yourself positioned as the leader of a revolution against the Combine, the the plot thickens as you become the hero of the desperate citizens of City 17.

The story alone is enough to hold Half Life 2 together, but the gameplay serves as the perfect suppliment to shoot the product over the top. One of the greatest gameplay factors is the physics system that the game uses. Literally everything in the game is controlled by the physics system, and you are given liberty to pick up, throw, push, or otherwise manipulate anything you can see. Objects have realistic behaviors based on their material (wood, plastic, etc), weight, size, shape, and any number of other factors. Additionally, many materials can be broken with applied force, and rather than throwning out gibs (random shapes designed to look like pieces of whatever you broke), the object itself breaks and flies apart.

However, all the physics in the game would be basically useless if not for the Gravity Gun. The Gravity Gun, otherwise known as the Zero-Point Energy Manipulator, is an innovative design in the game, and is more of a tool then a weapon. It allows you to pick up objects that would otherwise be too large or awkward to lift, and then by "firing" the gun, allows you to launch them into the distance. The possiblities with a tool like this are vitrually endless. Instead of wasting valuable weapon ammmo, you can use objects from the environment to take down your enemies. In one sequence that has the player facing almost endless waves of zombies, I managed to kill at least 30 of them by launching a radiator at them over and over. Explosive barrels are placed at convinent intervals for similar usage, as are saw blades that can be sent spinning at an enemy for a hasty decapitation. In a few areas, motors with helicopter rotors are placed in a room, and by crawling under the blade and activating the motor, you can sit there while the spinning rotor does all the work for you. And even that isn't the extent of it. Paint cans give off distinctive spaltters when thrown, ropes and wires behave naturally, glass breaks based on where you hit it, fires spread across burnable materials - everything fits together for the perfect experience.

But even with all this to take advantage of, don't be fooled into thinking that you're the only one who will use the physics system as a weapon. Enemies will frequently use objects to their advantage as well, whether they're targeting nearby explosive barrels instead of actuall shooting at you, throwing things at you if they have no other weapon, or knocking things over to create obstructions, the enemy is almost as smart as you are about using the environment. Not only that, but they change their attacks and defensive stratagies based on what they learn from you. If you manage to pick off one from a distance, the rest will start dodging your shots and hiding behind cover. They'll wait until you move out from cover and start advancing to make an attack. Supressing fire has an obvious effect, and they'll give up their own attack in favor of saving their own lives.

Hearing all this, one would natually assume that it takes a massive computer to run all of this effectively. The truth is, Half Life 2's Source Engine runs amazingly smoothly. My computer is far from top-of-the line, and even on mid-level graphical settings, the game ran perfectly (Well, except for a stuttering bug, which Valve has announced is a programming error rather than a graphical problem. Even this won't be a problem soon - a patch is coming out within a week). Everything is rendered in stunning detail, and all of the animations are spot-on. The characters are as close to actual simulated humans as you can get outside of a movie effects studio, and everything down to the glint in a character's eye - which is calculated based on the intensity and angle of the light in the room - is perfect. Source also features a uniqie lip-synching and facial animation software, which lets developers import pre-recorded sound, and the character will automatically speak the lines perfectly naturally.

It is impossible to say enough good things about Half Life 2. Everything is perfect, from the gameplay to the graphics, and everything that comes together to make it all work. I can say without hesitation that this is the single best game I have ever played, and it may be the best ever made.

Five Alps (AAAAA).

Best Quote: "Looks like your MIT education really pays for itself, pressing that button and all..."