Hiatus

What up, peoples. I'm aware that there has not been anything new posted here for a little while, and I figured I should probably just admit that there won't be anything coming up anytime soon. I'm just too busy with school and other things (Eli) to really devote much time to this blog, so there may not be any new content for a little while. If I happen to get a lot of time, I may do some limited writing, but until further notice, I'm taking a little break. Peace out!

TCR Podcast - Episode 1

Hey everyone! This is a bit of an experiment for me - I've created a boring podcast to match my boring blog! Some said it couldn't be done, or shouldn't (or they would have if anyone read this except Eli), but that's just how much of a rebel I am, I guess. Anyway, I'll probably be doing new episodes roughly every Monday, so check it out!

On this podcast, I introduce the TCR podcast, discuss my agenda for the coming week, talk about the weekend box office numbers and Scott Pilgrim, and briefly discuss the pilots of Covert Affairs and Rubicon. If you like it, please subscribe to the blog's feed (and hopefully I'll make it so that it's subscribable on iTunes as well). Apologies for some slight technical difficulties.

Download the podcast here: http://www.mediafire.com/?w3zcazb9vwlcc1k


NPR piece on Scott Pilgrim

New TV Review -- Rubicon

Rubicon
Gone in the Teeth
AMC Sundays 9 p.m.

In some ways, Rubicon, AMC's new original series, bears a good deal of resemblance to the show I was talking about here yesterday, USA's Covert Affairs. Both shows are centered around the cloak-and-dagger world of international intrigue. Both shows come from creators that have had limited experience as TV showrunners (Jason Horwitch, the creator of Rubicon, helmed NBC's Medical Investigation a few years back but otherwise has almost no notable credits to his name). And both shows are airing on cable networks where the ratings expectations are relatively low.

That's pretty much where the similarities end. AMC has been slowly developing a very interesting and impressive slate of original programming (their forthcoming adaptation of The Walking Dead has me pretty excited), which puts Rubicon under a different level of scrutiny than Covert Affairs. It's only fair to be expecting big things from the home of critical darlings Mad Men and Breaking Bad. I'm nowhere near ready to pass judgment yet on whether Rubicon as a whole will grow into an equally appealing show, but this pilot left me fairly underwhelmed.

Track of the Day - 8/15/10

"Suburban War" - Arcade Fire
Listen Here

Off of their new release, The Suburbs, "Suburban War" is one of my favorite tracks from the album. Or maybe not, since every time I listen to the album something different jumps out at me. Whatever, just listen to the damn song if you want.

Previous day's connection: I'm not telling you! But wait, it's not because I'm a douchebag (though that's probably true), it's cause I'm using the same connection for today as well! Cause for celebration, or annoying cop-out? Only time will tell...

TV Review -- Covert Affairs

Covert Affairs
Walter's Walk
USA Tuesdays 10 p.m.

So I promised y'all that I'd get to the second episode of USA's newest original series, the spy-actioner Covert Affairs, and I always keep my promises* (*Note: not a promise). In any case, despite my general lack of interest in most of USA's fluffy fare, I found the pilot to be surprisingly enjoyable and intriguing, enough so that I decided to stick around and try a few more episodes. Let's just say that Walter's Walk was not quite the pleasant surprise I was hoping for.

TV is an interesting medium to analyze, partly because it's actually comparatively easy for shows to make changes and tweaks, or even completely reinvent themselves. It's hard for the makers of, say, a movie to make adjustments halfway through filming that dramatically change the tone or emphasis of the film. TV, however, provides ample opportunity to do just that - and perhaps the amplest of opportunities comes after a show's pilot, which is made far in advance of the rest of the episodes. It's apparent in watching Walter's Walk that the showrunners of Covert Affairs decided to seize the chance to make a few tweaks. The Domestic Protection Division (DPD) has a new office, a set change which is pretty unremarkable, but hey, it's there. The character of Conrad (Eric Lively) has been replaced with Jai (Sendhil Ramamurthy, or Mr. Mohinder "Annoying Voice-Over" Suresh from Heroes), and I can't say I was particularly attached to Conrad, so the switch is fine by me. But beyond the set and casting changes, it seemed to me like the showrunners removed something that's a bit more disconcerting: they took out the fun.

Track of the Day - 8/14/10

"King of the Beach" - Wavves
Listen Here

Today's selection comes to you courtesy of San Diego noise rockers Wavves, who released their third album earlier this month. The album's title track, "King of the Beach" is like an acid-tinged updated Beach Boys track that straddles the line between obnoxious and addictive. I myself lean more towards "addictive," (which is totally funny cause the lead singer has an alcohol problem haha...) but give it a listen and see if you agree! About the song, not whether alcoholism is hilarious. Because who wouldn't agree with that, am I right?

Previous day's connection: Probably a bit of a groaner here, but Wilco is military speak for "Will Comply," used as an affirmative response. So it's literally a way of saying yes. Hence... Yeasayer. Yeah, I'm sorry, it's been a while since I've had to think these through.

Film Review -- Scott Pilgrim vs. the World

Scott Pilgrim vs. the World
Director: Edgar Wright; Writers: Edgar Wright, Michael Bacall
Universal Pictures

I should probably start off this review by saying that I have not read the Bryan Lee O'Malley comic books upon which Scott Pilgrim vs. the World is based. I've heard mixed things from those who have, with some readers saying they enjoyed the film more than the comics, and others frustrated at the casting and tone of the film. I, however, can only provide the impressions of someone who went into the theatre with no pre-existent expectations or fears - and I walked out at the end largely content.

Like the comics, the movie follows the 22 year old Scott Pilgrim (Michael Cera), who plays bass in a struggling band and whose life seems to be void of real emotion and responsibility. Some critics (particularly those that have read the comics) have expressed displeasure (with maybe a splash of vitriol) at the casting of Cera in the title role, but I had no real problems with his performance or how he occupied the role. While Cera was merely fine for me, however, Mary Elizabeth Winstead was fantastic in the role of Pilgrim's new love interest, Ramona Flowers. Winstead plays the role with just the right blend of aloofness and pathos, making it completely understandable why her character provokes such passion from others. And that brings us to the plot of the movie: Cera becomes infatuated with Winstead, but in order to be with her must defeat her seven evil exes. Director Edgar Wright brings the perfect tone to match the rather ludicrous plot, filling the movie with self-referential humor, absurdity, and some insane Mortal Kombat-esque fight sequences. The fight sequences are fun at first, but begin to drag a little as the movie progresses - which mirrors Cera's attitude as he begins to realize that entering in to a real relationship isn't quite as fun as he imagined. The movie snatches some hilarious performances out of superhero actors Chris Evans and Brandon Routh as members of the League of Evil Exes, and Cera's friends and family are given equally funny moments to shine (Allison Pill, Anna Kendrick, Ellen Wong, and Kieran Culkin all deliver a good amount of laughs throughout). The movie does occasionally seem like it's not entirely sure where it wants to go, and the absurd and detached tone hampers it from reliably providing genuine emotion and character growth, but it seems clear to me that this was not designed to be a "deep" film. Unlike another film with Michael Cera, Juno, Edgar Wright revels in the pop culture-referencing gleeful randomness of the movie and doesn't really attempt to give it a serious, emotional core.

Scott Pilgrim vs. the World delivered about two hours worth of pure entertainment - the script was witty and light, and Wright utilizes a directorial style and tone that makes it hard to not want to cheer as you watch, as corny as that may seem. While some may find it's lack of emotional realism off-putting, I think the movie was made much like the video games it references - intended to entertain. It's undeniably unique in terms of it's fantastical story-telling, but it's not the "cultural milestone" that some are trying to make it out to be. For me, it's simply a fun and escapist diversion that's near impossible not to enjoy.

Grade: B+

Track of the Day - 8/13/10

"O.N.E." - Yeasayer
Listen Here

Hey, didn't we just have a Yeasayer track? Well, yes, but that was all the way back a month ago, so technically no. Ha! Anyway, this is off their latest release, Odd Blood, which is a bit more pop-ish than their debut LP. "O.N.E." is a pretty good example of that pop influence, as the song bounces along to an addictive rhythm and synth-tastic sound. Check it out!

Previous day's (month's) connection: For anyone who can remember all the way back to the last time I did this thing, the connection between Grizzly Bear and Wilco is that both bands were featured in Volkswagen commercials. Huzzah! Okay, onwards and upwards I guess!

Film Review -- Inception

Inception
Director: Christopher Nolan; Writer: Christopher Nolan
Warner Bros. Pictures

Hey, so this was supposed to be up a while ago, while the movie was still number one at the box office and everyone was talking about it. But, unfortunately, I suffer from a serious and debilitating disease known as chronic laziness, which hampered my writing abilities. Apologies to my audience of one, and on to the review!

Inception is one of those movies that people who write about film have a lot of reasons to love. In part because it arrived in the middle of a summer season that has seen some fairly lousy blockbusters, and in part because it's unabashedly ambitious in an industry that increasingly puts out safe and boring films and assumes its audience is both retarded and gullible (see: Cats and Dogs: The Revenge of Kitty Galore). Putting aside it's ambition for now, however, I found watching Inception to be the most entertaining two hours I've encountered at the movies this year.

Christopher Nolan here has crafted a remarkably tight, fast-paced action/heist film wrapped in a coating of intricate fantasy. I don't think the movie is particularly "deep" or "meaningful," but its plot is superbly constructed and the film expects its audience to be sharp. Whereas The Matrix, for example, required its audience to comprehend the simultaneous existence of two realities, Inception's storyline takes the audience on a trip through five of them. The basic premise that certain individuals can infiltrate the dreams of others and all of the rules that govern this process are dispensed with quickly and without time for extensive discussions of how this is all possible - one of many smart moves by Nolan, as the movie moves so quickly that the audience is simply forced to accept the rules at face value. Again, The Matrix this is not - Inception moves at a blazing pace, without any long pauses for exposition. To prevent this from becoming completely overwhelming, the film introduces Ellen Page as an audience surrogate, a newcomer to this whole world of dreaming. Page joins a fantastic cast, headed by Leonardo Dicaprio, as their characters attempt to plant an idea into the head of the heir to a giant corporation. Saying any more about the plot risks going into spoiler territory, but the story unfolds exactly like your typical heist movie, if your typical heist movie also included amazing action set pieces with fights in zero gravity and snowmobile combat. Dicaprio is solid in the lead role, but Marion Cotillard shines as his (SPOILER REDACTED). Overall, though, the acting is simply top-notch - Nolan integrates his regulars Cillian Murphy, Ken Watanabe, and (briefly) Michael Caine well with younger stars Joseph Gordon-Levitt and Ellen Page.

I've had the opportunity by now to read a good share of the critical responses to this film, and I think I'm probably somewhere in the middle of all the hype and backlash. I don't think that Nolan is insufferably pretentious and a giant hack, but I also don't believe that Inception is one of the greatest films of the modern era. I think Nolan has a powerful command of the basic concepts of story-telling (something surprisingly rare in Hollywood), an ability to write serviceable dialogue that moves the plot forward (ditto), and a very healthy amount of ambition (aaaaand ditto). This movie is not brilliant - as I said, a lot of the dialogue is merely serviceable (though it's occasionally sharp), and some of the exposition is a bit transparent - but it's extremely well-made and entertaining. I was on the proverbial edge of my seat for the entire duration, and the entire theatre was dead silent from the moment the movie started to the final scene (whereupon everyone uttered a collective groan due to the SPOILER REDACTED). Ultimately, I think the biggest reason I enjoyed this movie is that it didn't treat me like I was a child or a moron - it assumed I could follow a complicated plot that required a large degree of suspension of disbelief and complete focus (and Nolan has made sure that any functioning member of society should be able to follow it with relative ease). I think the reason I enjoyed Inception is because it's how every movie should be made.

Grade: A

Okay, But For Real

Yeah, sorry about that. Keep your internet sets tuned for new content coming soon!