Transformers: Dark of the Moon

It seems that the big trend among this summer's blockbusters has been to fix floundering franchises. X-Men: First Class revived a series that was growing weaker with each entry. The simplified plot of Pirates of the Caribbean: On Stranger Tides was a much needed antidote to the sprawling story in Pirates 2 & 3. Thankfully, Transformers: Dark of the Moon keeps the trend alive by avoiding becoming the train wreck that was Revenge of the Fallen.

A lot of things went wrong with Revenge of the Fallen. So much, in fact, that everybody from Shia LaBeouf to the executives of Hasboro were apologizing for it. The plot went all over the place. The juvenile humor of the first movie was taken to a new level. Then, of course there were the jive-talking Autobots that everybody involved with the production would probably like to forget. The producers listened to fan complaints and although Dark of the Moon and came back with something on par with the original Transformers.

The premise this time around is that the Apollo missons were really a front to research an alien ship that crashed on the moon. The film kicks off with a strong start, mixing actual footage of the Apollo 11 mission in with scripted scenes, calling to mind parts of Michael Bay's Armageddon. From there, it moves into a conspiracy story where we find out that for years the American and Russian governments have been keeping the crashed ship a secret from everybody, including the Transformers themselves. It's a strong enough premise that it would have worked outside of a Transformers movie, and using it for this movie shows that the producers had more in mind than "big robots fighting for 2 1/2 hours" this time around.

They also came up with a good storyline for Sam Witwicky (Shia LaBeouf), albeit a rather topical one. This time around he's a college graduate unable to find a job, driving a beat up old Datsun because his car is out saving the world. On the plus side he has a new girlfriend, played by Rosie Huntington-Whiteley, and yes, she can act. Of course, once he does manage to land a nice, stable 9-5 job, he still manages to work his way to the front lines of the inevitable Autobot-Decepticon battle.

When you watch a Michael Bay movie, you can usually expect it to be about 2 1/2 hours long, and for that last hour to be one big action scene, and Dark of the Moon doesn't buck the trend. Unlike the finale of Revenge of the Fallen, which just felt like they were trying to cram as many explosions and robots into every minute, the climax of Dark of the Moon felt like something along the lines of Saving Private Ryan (you know... with robots). No, Michael Bay won't surprise you with an Oscar-worthy finale, but he does lock you into the battle and keeps the tension high.

There's still a fair amount of juvenile humor in Dark of the Moon, but it's toned down compared to the previous two movies. The overt racial stereotyping is gone, but there are still a few inappropriate sexual references. You'd think somebody at Hasboro would remind Michael Bay that PG-13 rating aside, it's still a movie based on a line of children's toys. The special effects also feel much cleaner than the other movies, so when the robots transform, it doesn't look as much like a big jumbled mechanical mess. However, the Transformers' designs could still use a bit of simplifying, at least for the Decepticons. They still look too complicated and alien, so it's a bit hard to tell the bad guys apart from each other.

Now, I didn't have any intention of seeing this in 3D, but I attended a free showing and didn't find out it was going to be in 3D until they were handing out glasses at the door. This almost prompted me to walk away and pay for a 2D showing, but I decided to stick around anyway.

I know it's a tired out complaint about 3D movies, but it's worth reiterating. It was just way too dim. When you watch a Michael Bay movie, you expect the sound and visuals to be cranked up past 11, but with the 3D glasses on, Bay's bright and brash visuals get seriously undercut. This might be alright if there was some big payoff to having everything in 3D, but there isn't. Aside from a spaceship flying about in the opening scene, there wasn't really any part where it felt like anything was added by seeing it in 3D. The effect was actually hardly noticeable for much of the middle of the movie. In fact, I was actually able to take the glasses off and enjoy parts of the movie without them perfectly fine, which i needed to do because my eyes were wearing out from the dimness. On the plus side, at least it wasn't headache inducing.

Overall, Dark of the Moon was a solid popcorn flick that delivers everything you should expect for a movie coming out for the July 4th weekend. It's fun, ostentatious and is the kind of movie you have to see in theaters at least twice, if only because your home theater system can't give you the fully audio-visual assault this movie calls for. I may not rate it as highly as the original Transformers, but it's definitely up there. If the producers can keep this up, hopefully we'll be seeing more Transformers movies in the future.

X-Men: First Class

The X-Men movies are good again. Thank God. When the overkill that was X-Men: The Last Stand was followed by lackluster X-Men Origins: Wolverine, the X-Men franchise felt doomed. It seemed that we would have to wait years before the franchise was rebooted.

Thankfully, we only had to wait two years. Not only does X-Men: First Class fix the problems of the last two X-Men movies, it even manages to outshine X2. It's not clear if First Class is meant to be a reboot or just a retcon of the other films (there's more than a few notable changes to the backstory), but either way, it's a welcome direction for the film franchise.

First Class is about the origin of the X-Men team, and how Professor X and Magneto first meet. The story is set in the 60's against the backdrop of the Cuban Missile Crisis, so it should come as no surprise that this film takes itself a bit more seriously at times than the others in the series, especially since this film heavily focuses on the fact that Magneto is a Holocaust survivor. That's not to say that this is a meaner grittier take on X-Men. The grimness of Magneto's story is balanced out by the playfulness of the young recruits to the X-Men who both possess extraordinary powers, and no idea how to properly control them.

While it is a prequel, to the X-Men series, it avoids the pitfall the original X-Men movie fell into of feeling like little more than a prologue to a sequel story. First Class stands on it's own feet with a self contained story that doesn't rely on the audience being familiar with the previous movies, or the characters. The producers also took the bold step of framing it less in the context of a hero story, and more like an espionage thriller with a sci-fi twist.

I was impressed by how well the film developed the film's three main characters, Professor X, Magneto and especially the shape-shifting Mystique. In the other movies, Mystique was heavily featured but her character was never really explored past her being a mutant who hated humans. Here, we get to see her struggle with being comfortable with her naturally deformed appearance, and how it leads her to adopt the mindset of a villain. There's a particularly good scene in which she asks Professor X what he thinks of her as she really is, and the Professor does a poor job of trying to hide his prejudices.

Speaking of villains, Kevin Bacon and January Jones are both fantastic as First Class's villains, Sebastian Shaw and Emma Frost. The first time you see Bacon onscreen is as a Nazi scientist tormenting a young Magneto, and reveling in it. Bacon doesn't just let his portrayal rest on Nazi = Evil.  Instead, his character evolves into somebody much deeper that puts the X-Men and even world governments into a moral bind.  I had some concerns about January Jones because there have been times that I've seen her in Mad Men and other movies where her acting seemed a bit flat. In theory that shouldn't matter since the character, Emma Frost is supposed to be arrogant and indifferent, but Jones does make her character feel rather animated while staying true to her character's nature.

Overall, First Class feels far more balanced than the other X-Men movies, which often tried to cram fan-favorite characters into cameo roles at the expense of sensible plot development. First Class does boast a large roster of mutants, but the filmmakers decided to round out the supporting cast with lesser known (and more expendable) characters like Havoc and Azazel. Unless you're a comics purist who'd be put off by the filmmakers mucking about with the characters' ages (in the comics, most of the characters in the movie are young when Professor X and Magneto are old) you should love X-Men First Class.

Sucker Punch: Review

I don't often put a lot of stake in professional film reviews, but I had a sense something was up when Sucker Punch couldn't pick out enough positive quotes to make one of those ads where they say how much critics loved it. Still, I was too hyped up about this movie to not see it, so thankfully the poor reviews tempered my expectations.

I wouldn't go as far to say that Sucker Punch was a bad movie, but it was definitely a heavily flawed one. I wanted to like it because I'm a big fan of the director, Zack Snyder. The premise of the movie, in which a cast of hot women go from being damsels in distress to badass heroines, felt like it was something he came up with as a teenager and held off on making until the he earned Warner Brothers enough money that they'd let him do whatever he wanted. I mean that in a good way. It feels like somebody's dream product. The finished product is definitely more mature and polished than some teenage fanboy movie, but it's heart is still visible.

There's not any particular part of the movie that stands out on its own as bad. There's no groan-worthy dialogue or horrendous acting. By no means is the movie at all unwatchable, but the problem with Sucker Punch was that it's a collection of well crafted parts that don't work together as a whole.

There are three aspects to the story, and the first two actually go pretty well together. There's a strong opening and a good follow through. It starts with a young woman, known only as Baby Doll, who gets incarcerated in an asylum after she tries to kill her abusive step-father. Once in the asylum, she takes her mind into a fantasy world where she imagines she's a captive in a brothel, and invents a plan to escape with her fellow captives.

Everything falls apart when the third aspect of the story comes into play, which is made of the big action sequences that are splashed across the trailers and TV spots for this movie. The idea is that Baby Doll needs to acquire several items to make her escape. Her friends try to help her steal the items while Baby Doll dances to distract her captors, and her dancing is apparently something completely mesmerizing.

The audience never sees her dancing though, because once she starts moving her body, Baby Doll goes even deeper into a fantasy where the task at hand becomes some mad-crazy action scene that's symbolic of what they're trying to do. For example, the girls need to steal a lighter, so when Baby Doll starts dancing she imagines that they're stealing fire from a dragon.

I liked the idea of the heroine using an escapist fantasy to deal with the very real horrors before her, but the action scenes, where they're battling robots, monsters and steampunk Nazi zombies, were so out of scope of the rest of the story,  they just didn't feel like they belonged in the same movie. It also didn't help that the action scenes were directly tied to Baby Doll's dancing. It made what was supposed to be a metaphor just a bit too literal. The action scenes would have probably made for a great movie on their own, and they were definitely well made, but they just didn't work with the main story.

Also, it was hard to get my mind past the notion that the fantasy world Baby Doll comes up with while in the asylum is unmistakably a very male fantasy. Yes, the women in the fantasy are very much empowered, but it was hard to buy into the idea of a woman fleeing an abusive step-father by imaging herself as an erotic dancer who can take herself to a sci-fi/fantasy world where she and the women are led by a father figure type.

I did at least appreciate that Zack Snyder made nods to the works that inspired parts of the film, without resorting to full-on "borrowing." There's a bit of Walter Mitty, some Brazil thrown in the mix and an unmistakable helping of "An Occurrence at Owl Creek Bridge." Thankfully, Zack Snyder has enough respect for his audience to be up front about the last one, and not try to pull it on the audience like a twist ending we never heard before.

Overall, Sucker Punch is a well crafted movie that should have spent more time in the conception stage before actually going into production. It's easy to see how much worse this movie could have turned out. Tell most directors to make a movie starring chicks with guns and you usually end up with something like the Resident Evil movies. The movie Zack Snyder made could have been a lot better if he hashed out the balance between the various fantasy scenes. I get a sense of the movie that he had in his mind, but it isn't quite the movie that he ended up making.

Although disappointing, it had enough good moments to it that it didn't shake my faith in him as a director, and I'm definitely looking forward to what he can do with his upcoming take on Superman.

Spring Grove Cemetery

Last January, I had the chance to go down to New Orleans. One of the things I wanted to do was to photograph the historic cemeteries, which are among the city's more defining features. The concierge at our hotel recommended we check out one in the Garden District. However, she failed to mention that it closed to the public at noon. When we arrived at what we thought was a reasonable hour (2 p.m.) we found it closed.

At the time I was disappointed, since the only photos I could get were through the fence. (My friends also pointed out to me that a true traveller would have hopped the fence and gotten the shots he wanted.) When I got back to Cincinnati, it occurred to me that there were plenty of historic cemeteries in town that I hadn't been to yet. I suppose I had adopted the rationale that when you hang out in graveyards in other cities, it's tourism, but when you hang out in local ones, it's being creepy.

In February, after being shut in the house for almost a week due to a snowstorm, I ventured out to Cincinnati's own historic Spring Grove Cemetery when the city started to thaw. The New York Times actually said that if you have 3 days to spend in Cincinnati, Spring Grove is where to start. Below are some of the pictures I took.

All images copyright Allister Sears 2010

Tron Doesn't Look So Good in 3D

Last weekend I took the opportunity to see Jackass 3D, and was treated to a special 3D trailer for Tron Legacy. As a proper nerd I've been excited of the notion of a sequel to Tron before it was even announced. Now that it's about 2 months away, it's a given that I'll be seeing it opening weekend, but I was on the fence about whether or not I should see it in 3D or regular 2D. After seeing the 3D trailer, the choice was clear.

2D. Definitely seeing it in 2D.

The problem was that it was too dark. One of the most common criticisms of the current crop of 3D movies is that the glasses you have to wear noticeably dims the film. At best, this can be an annoyance, but if you've seen any of the footage of Tron Legacy, you know that the computer world within the film is already pretty dark as it is.

Dark skies. Dark costumes. Dark walls. And anything that isn't dark is a dim shade of blue or orange. So, for two minutes, all I could see were shapes moving about.

Oddly enough, the result looked like the cover for the Art of Tron Legacy book.

Imagine watching an entire movie that looked like that.

It wasn't just the dimness that made it look bad. All the smoke effects and lens flares didn't translate all that well into 3D, and most of the time the 3D effect wasn't even that noticeable.

So, yes I'll be in the theater opening weekend to see it, but in good ol' fashioned 2D.

Art of Tron: Legacy image is copyright of it's respective owner and used under fair use.

Supermassive Black Hole

Muse recently recently held a contest to design a T-shirt to be sold at their shows. Unfortunately, the design I submitted didn't make it to the voting round. It was inspired by "Supermassive Black Hole" from their album Black Holes & Revalations. Here it is for your enjoyment.

© 2010 Allister Sears

Thoughts on the New iPod Line

It used to be that when Apple announced an update to it's product line, you cursed yourself for having bought the previous model, even if it came out a year ago. After watching Steve Jobs's announcement for the new iPod models, I feel the opposite. I find myself content with the iPods i have, and feel no desire to get new ones, not even that unrealistic sense of needing to have what's new. If anything, I'm worried that if the ones I do have break, I'd be forced to get one of the newer models I'd rather avoid. (Although I still buy CDs, I bought enough songs off iTunes with DRM to feel tethered to the iPod brand.)

I had this problem before when my first generation iPod Shuffle went on the fritz. I bought the Shuffle to have a simple bare bones music player for when I workout. By the time it stopped working correctly the Shuffle was at it's third generation. The line had been upgraded so that the player was the size of a stick of Trident and the buttons had been moved onto the wire of the earphones. Not wanting to be stuck with the basic Apple earbuds, and not caring for any of the other new features, I bought one of the last second generation shuffles which was an improvement over the original without unnecessary bells and whistles.

(On a side note, it turned out my first generation Shuffle wasn't broken at all, but that a bug in a software update messed it up. By the time I realized this I already had a shiny new iPod Shuffle in my hands that I didn't care to take back.)

At least Apple realized that people hated the lack of buttons on the 3rd generation Shuffle, so they brought them back for the 4th generation one. After acknowledging the consumer dissatisfaction with the 3rd generation Shuffle's lack of buttons, surprised when Jobs announced the new Nano would have a touchscreen instead of buttons, making it look less like previous versions of the Nano and more like a jazzed up version of the Shuffle.

I honestly don't see this one going over well. With a display of 1.5 inches, I think the new Nano is just too small. I'm of average size, and sometimes even my bony fingers are too fat for my iPhone to figure out exactly where on the screen I'm pressing. I just don't see how anybody can effectively navigate the menus with such little space to move their fingers.

What also worried me about the announcement was that there was no mention of the iPod Classic. This presumably means one of two things. Apple is fine with the product the way it is, or they plan to drop it soon. Hopefully it's the former. My 30GB Classic is on the verge of maxing out storage space, and there's a spiderweb crack on the glass front. Odds are I'll want to replace it in a year or so and I'd prefer to just get another Classic.

I wouldn't want an iPod touch because as I mentioned, I already have an iPhone. Even though my iPhone can play music, I'd rather have a separate music player. For one thing, I can listen to hours of music without having to worry that I'll have a dead cell phone at the end of the day. On top of that, I'd rather not leave my cell phone in a dock out in the open at a party, just so others can listen to music.

More importantly, I like the clickwheel on the Classic. It lets me operate the iPod completely blind. I can skip ahead to another song or adjust the volume without having to take it out of my pocket to make sure I'm hitting the right part of the screen. Better yet, I can use it while driving. I can change songs or playlists without taking my eyes off the road just as if I were changing the radio station or tracks on a CD. With the Touch, you have to actually look at the screen to know what you're doing. There's no tactile feedback. If you're driving, I doubt a cop will care that you were just changing the song on your iPod and not texting somebody.

Hopefully one of two things happens. Either the Classic sticks around, or if Apple does finally decide to drop it, they bring the clickwheel back to the Nano and up its storage capacity to something around 60GB. Maybe then I'll once again feel the urge to have to get it right away.