Thor 2 is the Star Wars Sequel We Always Wanted

Thor: The Dark World

If you refer back to my Iron Man 3 review, you’ll remember that my biggest problem with that movie was that it just felt unnecessary in a post-Avengers world. Tony Stark had joined a team and while he wouldn’t be hanging out with them all the time, a worldwide terrorist plot involving an attack on the president didn’t feel right as a one-man operation. Thor doesn’t have that problem. He is so much bigger and more powerful than everyone else he can take on much greater foes on his own than as part of a team. So, since every super hero movie is about destroying the world now, Thor: The Dark World puts the whole universe in the balance.

Thor (Chris Hemsworth) has been busy proving himself in all nine realms of existence, fighting in wars to the hopes that his dad, Odin (Anthony Hopkins), will recognize his worthiness. As you remember, Thor’s being groomed to replace his dad, even though it’s not really clear if Odin is actually aging and needs to retire or if it’s just an arbitrary thing. Anyway, Thor’s having a great time with his Asgardian friends, Loki’s in jail, and things are just great.

Meanwhile on Earth, Jane Foster (NatPo) is in London on a date with Chris O’Dowd, because that guy in the non-threatening sort of shlub that could just never compare to Chris Hemsworth’s musculature. Their crappy date is interrupted by Kat Dennings, who says they should check out this thing. They go there and Jane accidentally gets exposed to a source of infinite evil power from before the beginning of the universe and simultaneously releases the dark elves who need that to end the universe.

You can guess where it goes from there: Thor takes Jane to Asgard, it’s fun, they fight the bad guys a few times, the stakes are raised, etc. This is a surprisingly epic movie, but it manages to make it work without just filling the screen with destruction, like Iron Man 3 and Man of Steel did. There are armies in Thor: The Dark World, but most of its battles come down to just a handful of powerful people wrecking each other, and it’s awesome.

We get space ship battles, people fighting with laser guns and swords, giant monsters, and plenty of sweet, sweet lightning. Despite the Thor’s legit mythological roots (and whatever the comics are actually like) this feels a lot more like they couldn’t decide if they wanted to make a Star Wars movie or a Lord of the Rings movie, so they just made both. It’s pretty sweet.

The first Thor movie, in my memory, worked like this: exposition and fighting for a few minutes, then it’s a comedy for like half the movie, the Thor beats the shit out of everybody right before the ending. I was about it, because the fish-out-of-water stuff was pretty amusing. This movie is heavy on jokes too, but they’re not nearly as fun – a lot of it is Kat Dennings being shticky and Stellan Skarsgard destroying his credibility. I wasn’t groaning or anything, but, really, did Kat Dennings need to be a big part of this franchise? I would much rather learn more about Thor’s still underdeveloped Asgardian friends.

Speaking of undeveloped, Thor and Jane are really, really in love with each other. Like Thor’s depressed he can’t be with her and willing to throw everything away for her in love. Because, you know, they got along for a couple days two years ago. Neither Thor movie does a lot to make the relationship seem anywhere near as important to the audience as it is to the characters, and you just kind of have to accept it.

Anyway, I had a surprisingly good time watching Thor: The Dark World. The trailer for the new Captain America movie looks pretty cool too, a fun take on the spy thriller genre, mixed with ridiculous super hero action. I like that the Marvel super hero movies all feel different and take on different things, for me it’s really kept them from getting stale. I know that’s not the case for a lot of people. But fantasy + sci fi + hitting dudes with hammers? That’s a good time.

Obsessong: Song for Zula

This might not strictly meet the criteria of Obsessongs, but I’m trying to keep the post-a-day thing going as long as we can. So here’s a chance to write about probably the best song on one of my favorite albums this year that I haven’t had a chance to write about yet. Are you going to complain about that? You shouldn’t. This song’s really good, have you heard it yet?

Song: “Song for Zula” by Phosphorescent
Album: Muchacho
Year: 2013
Written By: Matthew Houck
Continue reading →

All Reds

Los Campesinos! – No Blues

No Blues is a really Los Campesinos-y record, which is kind of surprising because the group has been bleeding bandmates ever since their terrific, incredible, magnificent, never-to-be-topped double debut in 2008. We all know that they lost the manic energy that made those first two albums great as they went on, and that’s probably because for a lot of the band, things got bigger than they ever thought they would. After five years and as many albums, Los Campesinos!, you’d think, is down to just the members who really want to make music their careers. And if No Blues is any indication, this isn’t a bad reality.

After my first few listens, I’m inclined to say I liked Hello Sadness more than No Blues, but that may be entirely because having just one lead singer is throwing me off. I mean, Gareth has pretty much been the only lead singer for a while, but this is the first time that a Los Campesinos! album feels like its just his. I like the guy, I like the way he writes pun- and wordplay-heavy lyrics, and even though he doesn’t scream as much anymore, he’s a fine singer. But the album could have really used a “The Black Bird, The Dark Slope.”

The band feels smaller, because, it is. The music feels less rambunctious, because, well, they got older and sadder, I guess. I don’t think anyone who has been paying attention to Los Campesinos! will be surprised by these realities. But the scariest thing of all would be that a band so full of energy and potential could find a way to keep going on. Thankfully, they did.

Favorite Tracks: “For Flotsam,” “What Death Leaves Behind,” “Cemetery Gaits”

The People’s Albums: #46 Kenny Rogers’ Greatest Hits

With Shocktober now behind us, I suppose it’s about time I return to writing about The People’s Albums again.  Not that Shocktober had much to do with this long absence, but rather it had to do with this album not being as mildly awesome as I hoped it would be.

Album: Greatest Hits
Artist: Kenny Rogers
Release Date: September 3, 1980
Copies Sold In The U.S.: 12 Million Continue reading →

White People Suck: The Movie

12 Years A Slave

I can’t really say I’ve been looking forward to writing this review, much in the same way that I wasn’t exactly chomping at the bit to see this latest film from director/misery-inducer Steve McQueen.  But with all the (deserved) Oscar-hype and talent involved in this project, it seemed like something I should see.  Which is really the only way I can sell a movie like 12 Years A Slave: it may not be a rip-roaringly fun time at the movies, but it’s really something you should see.  Not only for the way it depicts slavery with a cringe-inducing honesty, but also in the way it offers an emotional release in regards to this atrocity.

Based on the 1853 memoir of the same name, 12 Years A Slave chronicles the unlikely story of Solomon Northup, a freeborn black man who was abducted and sold in to slavery.  As you might expect, Northup’s intelligence and pride do him no favors in gaining favor with his new white masters, and things just get worse for Northup with every attempt he makes to keep his dignity in tact.  He’s then more or less broken down to a nub of a man once he’s eventually sold to a sadistic plantation owner, played unflinchingly by Michael Fassbender.

For a movie that somehow exudes both “importance” and “art house flair”, 12 Years A Slave does have a surprising amount of star power.  The likes of Paul Giamatti, Benedict Cumberbatch, Paul Dano, and Brad Pitt all make appearances at some point in the film, and except for maybe Pitt–who’s kinda just doing his usual Brad Pitt thing–all disappear into the roles quite nicely.  But the heart of the picture undeniably belongs to its star, Chiwitel Ejiofor, who takes full advantage of the kind of meaty role that he’s been long overdue for.  The film as a whole isn’t terribly talky, but I think this works in favor of Ejiofor’s ability to internalize this man’s struggles, all while McQueen’s camera seems constantly zoned in on his weathered face.

I know this might seem a bit strange for a smaller scale film like this, but I think 12 Years A Slave is a film that should be seen in a theater, and I’m saying that almost purely based on my own experience.  Walking in to the movie, I was pretty irritated to find myself surrounded by a fairly packed, and fairly noisy audience.  But after about a half-hour into the film, the audience was completely silent, and by the end of it, I could distinctly hear grown men trying to hold back their tears, and I’ll admit I was right there along with them.  And in this era where people keep on saying that television is now far superior to film, it’s nice to be getting movies like Gravity, and now 12 Years A Slave that remind us of the kind of communal aspect and the emotional catharsis that the medium is still capable of.

Homeland, Sea, and Err

How about the Homeland last night, right? Pretty gross! Also, pretty exciting. It was nice to see the show get back into observation and interrogation, as that’s what it does best. Seems that after a shaky first few episodes, the real plot has come into focus and the show has basically found its footing again. So have you been avoiding Homeland this season or really down on it this year? Here’s a post for you.

The biggest complaint, at least in the Lemme household, has been the show’s dedication to Dana Brody stories. We got to the point this week where my dad actually booed her appearance on the screen. In a show where everyone else’s plot involves life and death stakes, it’s hard to care about Dana dating a shitty boy, especially since that was last season’s plot for her already. And yeah, I get it, she is there to show us what Carrie and her dad would be like if they weren’t so fucked up, but after being so unpopular last season, I’m amazed the show decided to double down on her like it did. Although, based on this week’s episode, we’re probably not going to be seeing much of her going forward, so… Maybe they just moved all her screen time to the first half of the season? Maybe it’s a mercy?

I don’t know. In the first season, it made sense to spend a lot of time with Dana and Jessica, her mother, because the story was about Brody readapting to life in America. Now the show seems to be squandering an opportunity to show the toll of Brody’s actions, especially since it has thus far just used Jessica as Dana’s mother, not the wife who lost it all, built it all back up, and lost it all again. At least we haven’t had to spend much time with Mr. I’ve-got-my-shit-together Mike.

The second cause for complaints is Carrie’s bipolar disorder and how crazy she’s been acting. This was mostly alleviated a few episodes ago, but the show really seems to hammering in how many problems this lady has, to the point where I almost feel like she could snap at any moment. This week they added even more complexity to her state of mental health, and it just rubs me like a shitty twist, one they really didn’t need. She had enough problems already, leave her alone you jerk writers! I have another problem with this, but I can’t address it without outright spoiling it, so ask me later.

My biggest concern going into the season was Brody’s place in the plot. Namely, that he shouldn’t have one in it. I’ve been really impressed that so far, he actually hasn’t been part of the story at all. They gave us an episode to show what he’s up to, but it was almost entirely separate from everything else going on. It’s a bold choice to have him off on his own island, one that I’m sure will turn into him being crucial to some plan in the latter half of the season, and I’ve been really pleased with it. Especially because it’s meant getting Saul bumped up as the second lead.

We all know Saul is great, the best character on the show (arguably after Virgil). Having him take the lead on the plot they’ve decided to do this season is really smart. If you want to do a story about justifying the existence of the CIA as it was, who better to spearhead that than Saul? Sure, we’ve got the weird machinations of Dar Adal, but watching Saul be in charge has been great. And I think this season’s theme of the human cost of spy work is so far being dealt with extremely well.

The first season about Homeland was a much more subtle, amazing show. The second season was bombastic and riveting, maybe the most exciting show on TV that year. That’s when we all started to worry that the show would just turn into 24, and it kind of has. I’ve noticed most episodes this season have been about 45 minutes long, and the nudity and graphic language has seemed scaled back… The show feels more like a network drama than it should. But damn, the show’s still capable of those moments that make me hurt to know what happens next. Suck it, terrorists!