Micro Review: Halt and Catch Fire

The next time you need some high quality TV to binge, allow me to recommend Halt and Catch Fire. Halt is a show from AMC that just finished its fourth and final season; highly lauded but never quite generating the attention of Mad Men or other critical darlings. Much like Mad Men, it paints a complex narrative on the canvas of a specific era and industry. Rather than the advertising world of 1960s New York, it's the burgeoning computer and tech scene of the early 80s through mid-90s. The machinations of the industry provide compelling and fun story lines to follow as our players constantly struggle to get one step ahead of the game and find the right idea at the right time. We get to experience a number of different tech touchstones as a result; the birth of the personal computer, the birth of the internet, etc. However, the meat of the series are the characters themselves.

Gordon, Donna, Joe, Cameron and Boz all have very satisfying character arcs and experience massive, organic growth over the four seasons of the series. Lee Pace is particularly captivating as the Steve Jobs inspired Joe Macmillan. Joe begins as a tortured and highly volatile futurist. You'll have to watch to find out where he ends up, but the writers do a great job of making it feel like a natural progression.

A limited number of seasons is another reason to watch. The series feels fully realized and perfectly paced. The producers knew their end date at the moment they began, which means you aren't going to suffer through any filler, nor do you have to work through ten seasons to finish this thing out. You can be in and out in a couple weeks (or months) depending on your pace.

Micro Review: Baby Driver

I'm late to the game here, but so be it. I'll start by saying you have to admire Edgar Wright's runaway imagination and style. The guy always goes for it and the way he marries music and image in Baby Driver feels a step beyond where others have dared to tread; matching music beats meticulously with action in long one-shots. Sneaking lyrics into background graffiti as they pass, etc, etc. He uses so many songs in the soundtrack and yet I never felt overloaded. You can tell very choice was made with pride and carefully considered, much like a Tarantino piece and un-like a gratuitous, clueless dump of music like Suicide Squad.

Wright's biggest triumph may be the casting of Ansel Elgort as Baby. The kid has an embarrassing amount of charisma and southern charm to burn. I can imagine someone falling in love with Baby the way I love The Dude and returning to this movie again and again as a result. I'll say I was moderately sad that Baby wasn't able to keep his figurative hands completely clean. A more significant disappointment; Kevin Spacey's Doc feels way too surface level and like any other paint-by-numbers Spacey villain until we get a small turn at the end.

In short, if you love a high-paced chase film and can stomach a lot of stiff language, this is absolutely the movie for you. You're going to have a blast. It may be a bit thin on story, but it is masterful in style, pacing, and fun.

The blu ray? Looks fantastic, sounds fantastic, and has a very healthy dose of special features to dig through.

REVIEW: Haim - Something to Tell You

When I saw Haim live in Louisville, June 7th of 2016, I knew with 100% certainty that I loved at least two of the songs on their new album. (The only two they played.) Two for two. 100%. Needless to say... I left that concert hyped for new music.

That led me to make a public prediction on the Talk Hard podcast that not only would the new album be great, but it would elevate the sisters to the status of #1 rock band in the world. The unquestioned queens of rock n' roll. I am extremely sad to report that I was wrong on all counts. Something to Tell You has much more Stevie Nicks baked into it than Joan Jett. And my personal disappointment lies in the fact that I believe Haim was on the edge of shaking the music world's foundation. Much the way Sturgill Simpson and Chris Stapleton reminded everyone what country music could be when dialed back to its roots, I thought these three sisters were going to breathe life into a dead genre and in a very cool way.

Clearly not everyone will agree with me. Such is the subjective nature of art in general and I'm happy for the people who love it. The point that I'm confident in is that more people would have loved it if the sound of this album matched the simple, pure rock I heard in the Mercury Ballroom. These ladies are immensely talented. Danielle is a hell of a guitarist and vocalist. I'd like the chance focus on that. Instead, this album is extremely overproduced and the style sounds more like Cee Lo Green circa 2010 (see: Little of Your Love) with some fairly clear Fleetwood Mac-inspired undertones. I don't get it.

I got worried when the release date of the album kept moving backward. It had already been over three years since Days are Gone when they told us to look for the new album in Fall of 2016. Then it moved to Spring. Then it moved to Summer and finally arrived July 7, 2017. All the interviews with Haim during this time said things like, "We won’t finish a song until it sounds exactly like how it sounds in our brains." When it comes to music, that kind of tinkering and perfectionism always worries me. In my opinion it cost the album in energy. Judging by other reviews on the web, I'm certainly in the minority. In fact, I may be all alone. Regardless, although I think a little more edge and a few less frills would have made a better album, I will continue to support these ladies and I will most certainly see them again live when the songs sound the way they did when I fell in love with them.

Maybe this album will grow on me, but I believe my favorite version of Haim will always be the one on stage.

Three Billboards Outside Ebbing, Missouri

Todd alerted us to a new trailer today (for a movie that must have the longest title ever) and, in turn, I'm alerting you. I'm warning you right up front though, the language is EXTREME. Apart from that, Three Billboards looks potentially fantastic. But, to judge how high you should set your hopes, let's talk about the Writer/Director for a moment...

Martin McDonagh is an indie film prince. He's written three feature films and directed two of those. I've seen the the other two: In Bruges and Seven Psycopaths. Each is Certified Fresh on Rotten Tomatoes, but personally I came away underwhelmed by both. Like Three Billboards, Seven Psycopaths had a fantastic ensemble cast. In fact, I liked the cast so much, the film's failure to maximize their talents made my disappointment more pronounced. If you have Sam Rockwell and Christopher Walken in the same film, your script better drop them in some deep comedic waters and also give them a little room to thrash around. Thus far, McDonagh's humor hasn't connected with me despite the fact that I wanted it to. So, now I wonder:  will this movie (which seems like such a great vehicle for Frances McDormand), see McDonagh finally and completely live up to the status he's garnered as a critical darling? Is there a chance that Three Billboards Outside Ebbing, Missouri could be his Magnum Opus? Judge for yourself and try to keep your expectations in check.

REVIEW: Mad Max: Fury Road

As I get older, the passage of time becomes more and more obscene. We're halfway through 2015 already? Okay. Of course we are. Speaking of post-apocalyptic wastelands... I saw Mad Max: Fury Road this weekend and, as I walked out, one word came to mind: spectacle. Which is funny, because it's the same word my friend used to describe it to me this morning.

Fury Road is spectacle on a scale we have very rarely seen. It is the original Mad Max series writ large, with any limitations of budget and technology completely wiped away. When a masterful artist has a strong vision, this is the product you get.

Oddly enough, I would compare the film to an Old Hollywood epic. No expense spared, a cast of hundreds, 95% of effects and stunts appeared to be practical rather than CG (greatly appreciated and it made the movie). Hopefully the industry at large noticed just how great the practical effects payoff can be. At times, the soundtrack even dipped into a classic 1930's score (when our mutated, flame-throwing guitar player wasn't providing thrash metal).

And what can you say about the Production Design? INCREDIBLE. Design is alive and well in George Miller's film and it should win every award known to man in the category. No detail is ignored, no matter how small. And while the blueprint may have been sketched in previous Mad Max movies, the possibilities have never been fully realized until now. There are some amazing artists and imaginations at work here and their work is a joy to see.

Another thought I had as I watched was how unique Tom Hardy is. I think he approaches his craft unlike anyone working right now. He reminds me of Brando, searching out the essence of a character. The portrait he drew with a sparsity of performance is kind of amazing. By sparsity I don't mean insufficient in any way. I mean Hardy makes every morsel count. He was unafraid to play Max close to the vest rather than over the top.

No one will walk away from Fury Road thinking this was the greatest story ever told, but most will likely believe it was one of the most amazing things they've seen on screen.

REVIEW: Age of Ultron

My brain is full to overflowing with opinions on Marvel's newest offering. However, I don't like to rip, puff up, or spoil a movie for people who haven't seen it. So, allow me to give you a few spoiler-free thoughts on The Avengers: Age of Ultron.

If you follow us on Twitter, you may have seen my initial reaction after catching the film on Thursday night. The most concise and useful bit of information I can give you is that I'm looking forward to seeing it again and soon. That means I fully endorse the film for your watching pleasure. Your hard-earned entertainment dollar will absolutely be well spent. The film isn't perfect but it is definitely fun. So, let's talk about what you'll like...

The Humor

It's "on point" as the kids would have said 5-10 years ago. Age of Ultron is loaded with jokes and nearly every one of them hits its mark with a handful that absolutely crush. And the jokes come from every direction, not just Iron Man. Thor, Hawkeye, and even Ultron are in on the act. It's nice to see them take full advantage of the material Thor provides as the oddest-man-out in the room, rather than ignoring that he is a Norse demigod from an other-dimensional planetoid.

Nerrrds

The nerds are going to love it because this thing is DENSE with plot seeds for the future and tons of Marvel easter eggs. But, at no point did it all feel distracting. The movie is definitely packed to the gills but I can't recall thinking they tried to do too much. Lots of supporting characters from the various franchises make small appearances, but they never feel like cheap cameos. It makes sense for them to be there. They actually serve the story and blend right in. The film takes for granted that we already know these people and moves on. There is no re-introduction which is actually kind of cool, keeps things moving, and adds to the mystique of the Marvel Cinematic Universe that they've built.

It Works

Well enough, anyway. At no point during the film did I question the logic of what was going on and, looking back at it, that is almost unfathomable. There are so many moving pieces in Age of Ultron, for it all to fit together and make sense is a huge credit to Joss and any other writers who worked on it. You want a storyline to seem natural and inevitable by the time you reach the end and that's what we get here. Plus, as always with Marvel, things are wrapped up nicely. The ending feels like an ending. Despite the fact that we know everything that's yet to come (and the movie doesn't hide from that) we still close another chapter and feel completely satisfied.

So what doesn't work? Well I'm not going to tell you. Go see the movie. Enjoy; without the burden of my opinions or anyone else's. Then we can all sit around and talk about it and analyze it a little too much. Like I said, it does have problems. I would even call one of them inexcusable. But, there is zero doubt in my mind that you are going to have a really good time watching it.

REVIEW: X-Men: Days of Future Past

The WSF boys are getting together for a creative meeting tonight and that's a big deal, but it really doesn't help fill the Notes column until after the meeting. So, why I don't give you some thoughts on the latest X-Men film, Days of Future Past.

THIS IS NOT THE BEST X-MEN FILM

So everybody just cool your jets on that one. It is, however, the second best and that's pretty darn good considering everything Bryan Singer and his writers were up against. X2 was obviously the top of this franchise. X2 is a lean, mean and nearly perfect bit of superhero storytelling; easily in the top three of all time, if not #1. It has balance, it has pace, it has the most genuine emotion I've seen from the genre, and it doesn't have to navigate through four films worth of garbage continuity in order to right the ship. X2 had one objective; to tell the best story it possibly could. Days of Future Past is juggling two casts, multiple timelines, and accounting for the sins of other movies that Singer had no part of. What they managed to accomplish with this film was no less impressive and was possibly more difficult than what Whedon had to contend with on The Avengers.

THE BEST POWERS

If there is one thing that Bryan Singer continues to do better than anyone else, it is how to interpret superpowers on the big screen. X2, Days of Future Past, and even Superman Returns have one huge set piece that almost define the films they're in. Nightcrawler's infiltration of and attack on the White House in X2 made my cranium explode and really opened our eyes as to what was possible. For Days of Future Past, it was Quicksilver in the kitchen. The creativity of these scenes, the visuals involved, the way he chooses to shoot them... I'm not sure to what degree Singer himself is responsible for this or the other members of his team, but the captain gets the credit and clearly his films continue to deliver the awe-inspiring moments. Continuing on that note...

QUICKSILVER IS COOL

He delivered the best scene in the movie, some of the funniest moments, and the character was just likable. Which is funny, because the Quicksilver of comics has always been one of the most consistently cranky and unlikable characters in the Marvel U. The big story here is the fallout this has on Marvel's decision to include a Quicksilver of their own in Avengers 2. If I'm Joss Whedon or Aaron Taylor-Johnson, I walk out of Days of Future Past thinking, "Well, craaaaaap." Fox's Quicksilver was first and he was really good. Even worse is the beauty and fun of that scene in the kitchen. You can't top it. It's a uniquely tough challenge that the Marvel gang has made for themselves.

MICHAEL FASSBENDER IS GREAT

Fassbender has gravity on screen. He makes everything feel real. A star among stars. You can't help but watch everything he does. Part of me wishes old Magneto had never existed, just so we could get more of the young version. (Also so he never ends up in that fancy half-cape and space-age helmet from the first two X films.)

X3 GO AWAY

It was nice to see James Marsden / Cyclops back in the fold. Not so much, furry Kelsey Grammer. Can we please erase X-Men: The Last Stand from our collective consciousness now? Ugh, what a waste. That third movie should have been Singer's mutant masterpiece. Instead, he leaves to make a much maligned Superman movie and we got stuck with flipping Brett Ratner.  Brett Ratner?!

REVIEW: Iron Man 3

I'll make this short and I'll make it spoiler free. We posted our Top 10 superhero movie lists in anticipation of having several more to rank by the end of the summer. I'm not sure Iron Man 3 can go on the list. Not because it wouldn't earn a spot, but because it feels like much less of an Iron Man movie and more of a Shane Black action movie that Tony Stark stumbled into.

Should you go? Yes.

It's entertaining. The pace is frenetic and it's good summer fare. Honestly, I have to see it again to make a final assessment of the film's merits. I wouldn't be shocked if I end up buying the Blu Ray. Just don't go in expecting the light fun of Iron Man (or any other Marvel movie for that matter). This is a Shane Black movie through and through. Shift your expectations from Marvel's Iron Man to Lethal Weapon. And it doesn't take a huge leap to see Stark and Rhodes as Murtaugh and Riggs.

Should you take the kids? No.

Personally, I wouldn't take a kid younger than 12 to see Iron Man 3. I think people have come to trust and expect a certain brand of family fare from Marvel and up to this point their films have been very consistent. Iron Man 3 steps outside of that expectation. The violence is more graphic and there are moments that would be legitimately disturbing to younger kids. There is also a lot of conventional gun play that we haven't seen in Marvel's other movies. Iron Man knocking someone out with his repulsors and Tony Stark shooting a 9mm are two very different things.

So, there you have it. Be prepared for something different. And the film is very much framed as the end of a trilogy. Black went to great lengths to tie a bow on this one and wrap up everything we've seen from Tony to this point. I think it hurt the movie to some degree. That, in conjunction with a jumbled ending that fizzled, seemed to take the wind out of the audience's sails. The energy fell a little flat in the theater.