Archives for posts with tag: things are too good…

My most common hits are still coming from Scott Pilgrim searches. Were I to take it as an indicator of scale, O’Malley’s gem is more important than Terry Pratchett.

I can’t choose between them, I love them both too much.

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I’m tremendously happy that I didn’t make a New Years resolution to blog more. Aside from the fact that I have never made a New Year’s resolution with a straight face or possible scale, reality has struck against me and she. I had planned to blog about Japan while in Japan: this was first hampered by being stranded in London for eight days under weather conditions favourably thought of as ‘arctic’; secondary hampering came from trying to write about the said personal disaster. It’s too depressing to go back to a very bad headspace involving high stress, failing health, damaged ankles, impossible phone calls and red tape cutting off your ability to function while on honeymoon. The return fared no better, as we came back to a house still without heating (a long story 13 months and counting in the making), a still-broken fridge, doors as yet still-unrebarrelled and, but a few days after landing the eagle, a kitchen flooded thanks to a burst pipe.

And that’s just the highlights!

It’d be very easy to just roll over and whine, but to Amsterdam with that noise. This is an upbeat blog, goddamnit, and if I can avoid cursing up a storm here and on Twitter through sheer force of will in the last few weeks, then damn it we will beat Misery’s ass until Kathy Bates turns up with the notice of surrender. For all the rough, nasty, horrible crap we went through in the days that preceded and followed the Wedthing, we also got to meet a lot of good and splendid people and relish fantastic opportunities.

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In an age of information ubiquity, I will never quite accept the logic behind non-simultaneous international release dates. Ignoring the piracy issue, staggering the release of Scott Pilgrim Vs The World a few weeks after the US release date is leaving the potential audience open to the dangers of bad word of mouth. Unless you happen to be Pixar, there’s no way that won’t impact on your business, irrespective of how much or how little truth there is in it. I and mine will be there on opening day, but we’re not the ones you need to win over for the big bucks, however much we would like to believe otherwise.

Anyhoo, tirade over.

Scott Pilgrim Vs The World is a movie that I suspect I cannot be impartial or unbiased about. Aside from the earlier blog posts on the subject of Scott and his world, the series has a level of resonance for me that pushes it into a special and sheltered part of my brain that is unassailable by logic or reason. The books about the 23 year scroungabout first came out when I was a 23 year old scroungabout. Scott had a young girlfriend, I had just broken up with same. Ramona just came into his life, Olivia into mine. Gay roomates, oddly filtered perceptions of the world, inexplicable break outs into musical dance numbers… The parallels build up in a fashion that is either eerie, awesome, or the apotheosis of apophenia. The point is that objectivity is difficult at best. I want the series to be awesome. I also want the movie to be awesome. Edgar Wright has directed two of my favourite movies in recent years (Shaun of the Dead and Hot Fuzz), has the stellar Spaced under his TV belt and probably the finest taste in music of any popular culture figure in the media today.

How then does Scott’s cinematic tale fare?

Quite well, as it happens. Quite well fared indeed. First the positives: the movie looks and sounds amazing. Opening quietly, the movie quickly charges into a pop art video game frenzy that will in seconds let you know whether you are going to enjoy the movie or not. The video game references are present and plenty, but it is their subtlety that impresses: you may chuckle at the 8-bit tinkling, but you will guffaw when you realise that it is the Zelda load-screen/sleep music playing and then realise that we are seeing Scott dream… The story – such as it is – is effectively adapted from the source, chopping and changing in a way that feels natural, retaining the elements that worked and using them in novel ways. Wright realigns the action of the comic to work so well that you wish they happened that way in the source material. Without spoiling book or film, I will just say that I adore how the movie comes to show Scott’s growth and his change in motivation.

The characters are perfectly realised: people whining about Michael Cera before having even seen the movie can relax, his Scott is just as much of a lovable asshat as he was in the books. It is in the supporting cast that the movie really shines, particularly in regards to Kieran Culkin and Allison Pill as Wallace and Kim respectively. Part of the joy of the books is that the cast are all far more likeable than dear, selfish Scott, and that point is not lost here. The breakthrough, as has been stated time and again, is that of Ellen Wong as Knives Chau, who gets to show just about every emotion under the sun as she transitions from innocent school girl to hardcore jilted lover and finally as a mature adult in the space of two hours. The exes are all well realised, and even allowed some small measure of sympathy if you should feel the need to look for it: While Matthew Patel and Lucas Lee come off as idiots for the most part, Todd is – bless him – the victim of his being exceptionally dumb, while Roxy has the rather legitimate upset of being told she was “just a phase”. The movie does not shy away from the emotional carnage that both Scott and Ramona are creating with their self-involvement…

What then are the negatives? While most of the secondary and tertiary characters maintain a reasonable if reduced presence within the story, there are exceptions. Envy Adams suffers the most, having her two and a half volumes of story compressed down into ten minutes. That she is played a little too insincerely also weakens her plot, as it alters her into a throwaway opponent rather than someone Scott may have unfairly aggrieved. Ramona’s role in the climax is also verging on troubling, lacking an agency that puts her character at risk. There is at least an interesting point – that she is trapped in a series of increasingly abusive relationships and they can be hard to escape without help – but it rings oddly here. Thankfully, that it isn’t just Scott fighting removes a certain amount of the sexual politickery, and his aforementioned change in motivation makes his role in the events much more palatable. Some may quiver at the superfast transitions between the day-to-day antics and the heightened reality of Toronto Combat, but as with Speed Racer before it, that just broke my heart with glee.

It’s very hard for me to be negative about this movie, even when I try my hardest.

The movie is not for everyone, but then nothing should be. Whenever anyone tries, you end up with low grade Adam Sandler movies and monstrosities like Vampires Suck. Attention Hollywood: when you make me sympathetic to Twilight, know that you have done something evry wrong and must be punished. You may love Scott Pilgrim or you may very well hate it: it’s a divisive movie, and all the better for it. I’m tired of unimaginative, plodding movies which try to walk the middle ground between art and commerce. It’s a huge shame that it’s not storming the charts in the way it deserves to, but that’s a quiet blessing, since it means we are less likely to have a dozen shameless rip-off parodies a month which look at the artifice and miss the point.

All in all, it’s a triumph that places Wright three for three in his movie output to date. Even though a part of me knows I’m probably wrong about it on some level, it’s equal to Toy Story 3 in my estimation of movies this year and will be the only film I’ll go to see again in the cinema this Summer. Who cares about objectivity when you can have this much fun? Scott Pilgrim Vs The World is just that good, and if you don’t like it, then I am sorry, but I’m not sure that we can be friends any more…*

(* Hyperbole. You’re still pretty neat.)

Bonus! The prequel cartoon which spoils NOTHING and adds A BIT!

Bearing in mind that you will be affecting the haute couture of Cian, Shane, Alex and myself…

Suggestions are welcome, as I am making vital decisions that will affect the future of being awesome!

Hey look, it’s a new background theme! As much as I liked the old one, there was a weird spacing issue that I was too lazy to go in and fix via CSS (also, nerd fail: I don’t necessarily know how). How long until this one is changed? Wuhidunno. I keep meaning to put some level of personalisation onto it, but then I keep forgetting to make space on the desk for my scanner and that is how a baby procrastination is born…

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Predators in 30 words: Perfectly good and unpretentious shooty-uppy, swordy-wordy B-movie that provides ample entertainment for its hour and forty minutes. Also: Kurosawa fight! Spetsnaz! Larry Fishburn as Bear Grylls! Mild gunporn!

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Not living in a major metropolitan area has the rather unfortunate drawback in having to be very damn careful of what websites I look at when something comes out that I don’t have immediate access to and wish to avoid spoilers of (in this case, Scott Pilgrim’s Finest Hour). It’s the very reason that I took days off work to read the Harry Potter books when they came out – after a certain amount of time and investment, you don’t want your enjoyment taken down by anything but disappointment in the work itself. Having the best parts explained to you by someone lacks a certain… quality.

Remember: nerd rage is not big, nor is it clever. It’s just kind of sad and embarrassing, really.

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And now, our feature presentation.

Rewatching The Wire is an interesting experience I allow myself every couple of years. The first runthrough, in which you watch it with virgin eyes unless you have evil friends or the Wikipedia Disease, is an education in sociology and the nature of institutions. The second runthrough is almost certainly going to be an examination of craft and a reevaluation of your original views: there is no way you can consider Daniels or McNulty in the same way as you did when first introduced to the characters; your viewpoint is altered by knowing where they go and what they do. Critically, you are not perturbed by the close of their character arcs: in a lot of fiction, a character’s departure can be almost random and without any logistical purpose other than the efficacy of their removal; in The Wire, even though you may not predict how their stories will finish, it feels like a logical and natural progression of the character and their actions. With the second viewing, this is emphasised doubly so.

I, however, am now onto my third viewing. What is fascinating about this is that I am still seeing new angles and interpretations of the same story. The main difference is that I am more focused on the secondary and tertiary characters, such as Ziggy in season 2. Ziggy is a perfect example of the depth available to multiple viewings: in your first view, he is a frustrating and difficult character to watch until the very end in which you hopefully feel some pity or at least sympathy for him. On the second viewing, you bring this sympathy with you, and it colours how you see him. By this point, my heart is broken by him as he comes into focus as one of the biggest victims of the series.

Without saying too much (spoiling The Wire being one of the Great Taboos of TV), he is someone who is not only ground down by social institutions, he is destroyed by the people around him as well: typically, it is people acting on behalf of the institution that cause the effect; in Ziggy’s case, the individuals do this as much for their own pleasure as they do social dictates. For all his bluster and arrogance and bad decision-making, he is someone desperately trying to find a role for himself and some measure of acceptance. All his trash talk is a direct response to external stimuli, which frequently tends to be the derision of him supporters and enablers as much as his opponents and dissenters. After the Thing With The Duck, the stevedores in the bar mock and insult Ziggy behind his back even though they were the ones who egged him on. Rather than send Ziggy to college as they did his brother, his father keeps him trapped within the same social decay he is himself trapped within, unable to qualify why. Ziggy’s unseen brother is critical in this: he is not mentioned before Ziggy and Frank’s father-son talk on the docks, and is never mentioned again; he’s the one who escaped the circumstances of his birth and the dock life, while Ziggy is the one destroyed by it. Even Nicky, Ziggy’s uber-competent cousin, treats Ziggy as his mood takes him and without any real empathy outside of personal convenience. All of this is crytallised with Ziggy’s final major act of the series: not only do we realise that this could have happened at any point prior, but it is only in the aftermath that we see anything resembling Ziggy’s actual personality, long since submerged in an effort to fit in. It’s the only time we see a genuine, sober and honest reaction from him.

It’s impossible to see this from the first viewing, and with the cast of hundreds, hard to see on the second. There are few things in this world that can stand up to this sort of scrutiny. Some of the Terry Pratchett books I read when I was younger have taken on new meaning since I came into some semblance of adulthood and a vague understanding of how and why people act, but it’s only the more recent books (such as The Truth and Going Postal) that bear up as entities of sociological and mechanistic scrutiny rather than interesting character dynamics and jolly comedy. Infinite Jest is about the only thing that springs to mind as something comparable (and even then with two caveats: first, that there are probably others and suggestions are welcome; second, that Infinite Jest requires even an even greater gap than the couple of years The Wire requires before diving in anew).

The Unwritten is a comic book by Mike Carey and Peter Gross.

The Unwritten is one of those ideas you kick yourself for not coming up with, or (should you lay claim to having considered it) using.

The Unwritten is probably the main reason I have not yet given up on comics.

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