Book Review: The Expats (Chris Pavone)

The Expats - or rather, expatriates, referring to people who live in a country other than the one they were raised in - in this case refers to a family that moves to Luxembourg on a business venture, with the thrilling prospect of seeing Europe and experiencing its culture.  However, beneath the family facade, buried secrets emerge.  As it turns out, the wife was once employed in the CIA as a spy and assassin, though her family is oblivious to her previous transgressions.  Things gradually get more and more intense when she suspects that her husband may be doing shady business in Europe.  What follows is a huge amount of mystery and intrigue, as secrets and lies are slowly and methodically revealed.

There isn't a whole lot of action to this novel, but it is definitely a fun read, given the constant cliffhangers, the somewhat cheeky narration, engaging dialogue, and the methodical unraveling of the mystery overall.  The book is pretty fast and easy to read.  It finds a good balance between being wordy and being trim.  Parts of it are quite witty, especially as the book often harps on the differences between living in the US and living in Europe.  Having lived in Europe for a while, I found much of the book to be really spot-on with its descriptions and details; it's clear to me that Mr. Pavone wrote this novel from the actual experience of living overseas.

The story is decently-told and well-built.  It builds a tremendous amount of suspense with the way it reveals each new suspicious thing, and through the main character's perspective, we are made to relate to her paranoia and doubts.  Through this, a subtle inner conflict runs through the entire story and makes it really engaging.  The book presents a decent group of characters, all pretty distinctive and realistic.  If there's anything to complain about it's that the book is jumbled up a bit, using flashbacks and flash-forwards frequently, and it can appear convoluted at times.  I also felt the ultimate climax was surprisingly anticlimactic; it's an okay ending, but I was left wanting more to it.

The writing is generally good.  This writer has an interesting tendency to list descriptions one after another, as a barrage of sensation and thoughts, and it is pretty effective that way.  The style is unique and fun, and I think it does a good job of matching up with the main character's thought patterns.

Overall, I would say this book is good, not great, but definitely a fun and easy read.

4/5 (Entertainment:  Very Good | Story:  Pretty Good | Book:  Good)

Film Review: Cyborg

"The last scientists were working on a cure that would end the plague and restore the world. Restore it? Why? I like the death! I like the misery! I like this world!" - Vincent Klyn

Not to be confused with Manborg.

Cyborg is a film that tries so hard to be wicked and awesome.  It is at least partway successful; set in a cruel violence-ridden apocalyptic landscape, the characters fight bad guys at every turn, with knives, big guns, and their fists! The overall look, style, and tone of the film would make it a fine compliment to the Mad Max series, but Cyborg is a grade meaner and more intense.

That being said, the film is still very much on the cheap side.  Many of the fights are cheaply-edited and choreographed.  There are laughable moments to be had.  Dialogue and writing are pretty cheesy, and the whole film feels pretty short and insubstantial.

The film's story is pretty basic, lacking in any deep characterization, depth, or emotional resonance.  It's very short and small-scale overall.  The plot consists of a man meeting cyborg woman, and they fight their way to a specific destination.  There are moments in between the action where characters try to warm up, with some flashbacks and touching scenes, but it never feels like we really get to know these characters in depth.   It's all just a fine excuse to see Van Damme kicking a lot of butt.

This film does have quite the style though, with some impressive camera angles and cool photography.  Editing is pretty good.  Acting can be quite cheesy, not only with the occasional silly line, but also with the exaggerated movements and the way everybody likes to scream at each other.  Writing is alright.  This production uses pretty cheap sets, props, costumes, and locales, although it doesn't show that much; the film plays within its limitations pretty well.  I personally don't like the music score, but I see that other viewers love it.

Cyborg is pretty wicked, but also quite cheesy, with a short and small-scale story attached to it.  It does have its moments though.  If you're a fan of cheesy action, gritty post-apocalypse sci-fi, or a Jean Claude Van Damme fan, then this film may satisfy.  Otherwise, you'll probably dismiss it as something trashy and dumb.

3/5 (Entertainment:  Good | Story:  Average | Film:  Marginal)

Film Review: The Wolverine

"What kind of monster are you?"

"I'm the Wolverine!" - Hiroyuki Sanada and Hugh Jackman

Wolverine still stands as one of the most prolific, most popular, and most badass superheroes of Marvel lore.  The man is literally immortal:  he heals instantly, even from mortal wounds, and thanks to that he was grafted with an invincible metal skeleton, complete with retracting adamantium claws.  Wolverine kicked plenty of butt in the three main X-Men films, but a stand-alone Wolverine film has always been in the cards, to give fans another chance to see this awesome character in action.  So, they made X-Men Origins:  Wolverine...and it kinda sucked.  Oh sure, it had action and style, but with a mixed-up storyline and poor editing, the film proved to be an epic mess.

To rectify things, The Wolverine was made to finally give us a movie that not only gives us the title character on a rampage, but also tells a compelling story.  This film is nowhere near as overblown as other X-Men films:  the action is confined to a series of fights.  Some of the highlights include a fight on top of a high-speed bullet-train, confrontations with a small army of ninjas, and a final showdown with a giant armored samurai suit.  Not much terribly large-scale or explosive, but the film does satisfy in the same way thrillers like The Man From Nowhere, Kill Zone, or Crying Freeman do.  The fights are pretty cool, showing quality choreography, cool weaponry, and fast moves.

The story is a massive improvement over X-Men Origins:  Wolverine, which tried too hard to cram in so much.  The Wolverine takes its time to breathe, giving a steady focus on the title character.  It is a much-needed character study; as a sequel to X-Men:  The Last Stand, Wolverine is a broken man, tormented by guilt and deprived of purpose.  As he travels to Japan and becomes caught up in a major conspiracy, he is revealed to be a figurative ronin:  a master-less samurai struggling to regain his honor, perhaps even through death.  Due to these issues, and with the threat of taking away his healing powers, this is Wolverine at his most vulnerable, and it makes for a very intense struggle.  The conflict runs good and hard throughout the story, and the plot is well-structured.  The story has a dense layer of conspiracy that's not exactly easy to comprehend, especially with so many side characters, but other parts are predictable.  At the film's core, however, strong parallels are drawn between Wolverine and the Bushido code, and it makes for a rather compelling show.

This film uses pretty straightforward photography and editing, and it's refreshing that way.  Acting is good:  Hugh Jackman is still perfect as Wolverine, and the rest of the cast is decent and feels authentic.  Writing is good.  This production uses good-looking sets, props, and costumes.  Locales in particular look authentic, and it helps, since the setting plays a major role in this story.  Music is not bad either.

The Wolverine is the film the character deserves, with emphasis on "THE" to indicate that this is not just another plain ol' superhero flick, but an exploration on the character and his quest for absolution.  To be honest, I expected this film to be rather dull, and many viewers will probably dismiss it as being dull.  Personally, it exceeded my expectations, if for no other reason than I enjoyed watching the character, both in action and for the drama.  If you're an X-Men fan or Wolverine fan already, then this film should be a no-brainer.  For everybody else, this would be a decent rental when it comes to disc.

4/5 (Entertainment:  Good | Story:  Good | Film:  Good)

Film Review: Tetsuo: The Bullet Man

"Welcome to the newest chapter in the history of iron!" - some TV announcement

Tetsuo: The Iron Man - A film so manic, hyper, weird, and stylish, it represented the epitome of an experimental film. David Lynch would have gouged his eyes out.

Tetsuo II: Body Hammer - A sequel so intense and crazy, it took the strange visions of the first film and spat them out at the viewer in a refreshing barrage of insanity.

The third Tetsuo film, The Bullet Man, is pretty much more of the same. You can certainly expect the film to break out in hyperactive bombardments of flashing rapid-fire images. You can certainly expect the main character to mutate into a metal monster and wreak some havoc (and this time, he spits bullets!). You can certainly expect this to be weird and crazy.

However, this Tetsuo film is notably different, and not in a way that's refreshing or necessarily good. In between the manic freak-out scenes, the film slows down drastically, trying its best to weave in some semblance of an actual story with actual characters and actual reasons behind the madness. With the terrible dialogue, short runtime, and overall freakiness of the film, I really don't think this story works as well as it wants to. The film really wants to give a compelling vengeance story (the exact same type that went into the last two films), it really wants to give us emotional characters, and it wants to give us some kind of background to the "Tetsuo Project" and its connection to the characters. In the end though, it comes off as being too short and underdeveloped for its own good.

The experience of the film overall is pretty agitating. Granted, the other Tetsuo films are agitating as hell, but The Bullet Man seems to be a grade worse. Nearly every scene is shot with a camera that never sits still. Given the other issues listed above, I was rather apathetic about the film overall. I actually value the other two films for their remarkable styles and visions, even though they are pretty hyperactive in their own right, but this third film never felt like it brought anything new to the table.

In addition to being really hyper and annoying, the film is rather drab-looking, with lots of dark lighting and gray settings. Photography is among the worst I have ever seen, and the editing is crazy. I was personally appalled by the acting and writing; most of the dialogue is terrible, with very stupid lines and absurd delivery. On the plus side, the sets, props, and costumes are pretty decent, and it's especially cool to see that the filmmakers preferred to use practical effects rather than cheap CGI. Music consists of lots of airy noises and metallic banging, further adding to the annoying experience.

As much as I value the first two Tetsuo movies, I couldn't bring myself to enjoy The Bullet Man as much as I wanted to. I halfway wonder if Shin'ya Tsukamoto is purposefully trying to make the most annoying movie possible. Established Tetsuo fans will probably enjoy The Bullet Man, but casual viewers will probably want to keep their distance. I personally recommend the first film, if at all interested.

2/5 (Experience: Annoying | Story: Very Poor | Film: Marginal)

Video Game Review: inFamous 2

Some of the funnest games are those that empower the player with awesome (and perhaps destructive) superpowers.  The first Infamous game offered players power, through the character of Cole MacGrath, a man who can harness and manipulate electricity.  You're given the choice to use your powers for good or for evil, and you're given free-reign throughout Empire City to fight bad guys, save (or punish) the citizens, and slowly unravel the truth.  The game ultimately ends with a heck of a twist; if you're familiar with what happens, then you'll know that what happens next will be something fresh, new, and epic.

Infamous 2 is pretty much the same game as #1, only a grade better.  The gameplay is sleek and fast.  The powers you get to use are refined to offer a perfect arsenal of empowering abilities.  Parkour and climbing are still essential, but are smooth and glitch-free.  You're still given free reign over a city (Cole moves from Empire City to New Marais, which seems to be inspired by New Orleans, and even includes a flooded-over area that echoes the Hurricane Katrina disaster).  As you make your way through the two large islands, you can spend many fine hours completing side missions, hunting down collectables, playing through the story, or just exploring.  This game also introduces a neat feature in which users can create their own levels and publish them online; the user-generated levels appear all over the map and can be played by anyone.  It all makes for a fantastically addicting experience; best of all, the game is never frustrating, and it's never over or under challenging.

The story you get to play is not quite as mind-blowing as the first one, but it is a decent continuation.  Parts of it seem to mirror the first game, but it does introduce a cast of great new characters (many of which are superpowered), and plenty of new territory is covered (not only as a setting, but also in regards to the game's concepts, ideas, and background).  Characters are as endearing as ever, and the common themes of good-vs-evil and moral choice are as strong as ever.

The game looks really great too, with superb graphics.  Textures, renderings, animations, and lighting are great.  It's especially remarkable compared to the first game, which looked rather low-rez; the characters receive a magnificent boost in quality, and everything else is a grade better.  The open-world cityscape is designed really well.  Designs for all the settings, characters, and objects are good.  Voice-acting is good, sound designs are good, music is good...heck, the whole game is good.

Go play it.

5/5 (Entertainment:  Perfect | Story:  Good | Game:  Perfect)

Film Review: What Dreams May Come

It's strange to me that there just aren't that many films that actually show Heaven or Hell in great depth. Perhaps because of that, I often look upon What Dreams May Come as the closest we have to seeing the afterlife on a grandiose Dante-esque scale. The film's biggest selling point are its special effects, which bring Heaven and hell to life in an extremely vivid fashion. Scenes in heaven start off as a literal painting, which is stylish and whimsical; every other scene is ordained with beautifully lush and sunny landscapes and architecture. Later on, the film shows a fantastic cityscape with magnificent domes, arches, spires, with flying people and waterfalls all around it. Then, when the characters make their epic journey to Hell, they tread upon freakish landscapes ordained with shipwrecks, heads in the ground, and a sea of bodies. Scenes like these are brilliant and lovely, for they appear like living, moving Renaissance paintings.

However, the experience of What Dreams May Come is a strangely uneven one. The film's narrative is cut up, interjecting flashbacks and dialogue at odd places. In doing so, the pacing becomes herky-jerky. The film will be drop-dead serious one moment, sentimental the next, then slappy, then corny, then beautiful, and so on. It also takes a little while to get to the good stuff; the actual plot of the movie doesn't kick in until ten minutes or so, during which time nothing much really happens. I think if the entire film was focused on the afterlife, rather than jumping back and forth and focusing so much on the characters' sentimentality, it would have been more effective. As it is, the film is strangely uneven.

The story generally works, but thanks to the way it's broken up, I feel the plot suffers tremendously. Conflict is slight as it is, but with the frequent flashbacks and interruptions, the plot stalls most of the time. When the plot does take momentum, it covers rather predictable ground. Characters are generally likable and emotional, and are a pleasure to watch.

A few concepts are challenging though: the film takes the safe path through its theology, with its mention of reincarnation, with having certain characters take on the attributes of different races and creeds rather than being themselves. The film is also very Swedenborgian, given its assertions about love, punishment in the afterlife (or rather, the lack thereof), and the notion that Heaven and Hell are derived from the characters' minds or the state of their soul, rather than being real places. The film portrays an afterlife that's non-threatening and all-encompassing, which is nice, but runs contrary to established beliefs in theology and religion. At its worst, it's pure Hollywood surgar-coating.

The film generally looks good, with a varied mix of interesting photography and vivid imagery. Editing is pretty wonky, given the way it cuts up different scenes in one giant meatloaf-style narrative. Acting is decent though: Robin Williams eeks out a few of his signature silly lines, but other times he's really earnest. Cuba Gooding Jr.'s presence is somewhat bewildering, but he seems to have fun with his role. Max Von Sydow comes off as a Virgil wannabe, and Annabella Sciorra nails her role. Writing is a mixed bag; it's sophisticated in some places, simplistic in others, and really sentimental throughout. This production has magnificent sets, props, costumes, special effects, and locales. Music is nice too.

The story's pretty random, and some of the ideas seem to be watered-down for mass audiences, but What Dreams May Come does offer a worthwhile experience, as it literally paints visions of the afterlife before our eyes. At the moment, it's the best we have to actually seeing what Heaven and Hell could look like, and that alone makes it worth seeing at least once.

3.5/5 (Entertainment: Pretty Good | Story: Average | Film: Pretty Good)

Film Review: The Rock

"You're stuck between a rock, and a hard case." - Sean Connery

The Rock opens with a military funeral, intercut with explosions, and with Hans Zimmer's dramatic score in the background.  Yep, it's pure Michael Bay:  just about all of the man's films feature huge, overblown action scenes, big fiery explosions, energetic car chases, silly humor, and a hyperactive style.  It's made for a rather shallow experience for some of his films, but in his second full-length feature film, all the excesses align perfectly, crafting one of the purest and most thrilling action movies of all time.  You can certainly expect lots of action:  the shootouts are loud and intense, there is one awesome car chase, and there are quite a few major explosions.  Characters often exchange witty lines throughout.  And when the bullets aren't flying, the film still maintains furious momentum with its suspense and political intrigue.  It's a perfectly loud and explosive picture, but without being too overblown (especially not as much as Bay's Transformers trilogy).

Thankfully, The Rock is not all about endless gunfire and pyrotechnics.  The film utilizes pretty common elements of action movies:  terrorists take some hostages, good guys have to rescue them and stop the chemical missiles from causing widespread death.  The Rock offers some clever variations though, especially by having the terrorists take over Alcatraz, turning the titular prison (and in some parts, San Francisco) into a massive action setpiece.  Above all, the characters propel the film into above-average fare:  the protagonists are an unlikely pair, sharing entertaining chemistry, and each one has likable traits and personal stakes attached to them.  The villains are especially noteworthy, because they're not just mindless nameless bad guys:  they have a patriotic motivation, and they show surprising humanity at times.  The plot overall is pretty well-built and evenly-paced.

This film has solid photography, which includes a lot of cool-looking camera angles and movements.  It gets really shaky during the big car chase, but it's far from unbearable.  Editing can be fast at times, but once again, it's not too unbearable.  Acting is solid:  Nicholas Cage dishes out a lot of humor, but he's appropriately serious when he needs to be; Sean Connery is at his most badass here, and Ed Harris really nails his role.  Writing is pretty good.  This production uses some very cool and real-looking sets, props, costumes, and special effects.  Hans Zimmer's music score is the essence of action-movie music.

In fact, the movie overall embodies the essence of an action movie.  Recommended!

4.5/5 (Entertainment:  Perfect | Story:  Good | Film:  Very Good)

Film Review: Stoker

"Sometimes you need to do something bad to stop you from doing something worse."- Mia Wasikowska

If you've seen the other films by Chan-Wook Park, then you'll know what to expect:  creepy, moody, disturbing, violent, but with a delicate tone.  Stoker embodies all these same aspects:  it is creepy and moody, it gets disturbing, and there are a few violent deaths involved, but it's all done with taste and style.  The film follows a little girl as she copes, grieves, and eventually grows into wickedness.  The film takes on a pretty even pace; it's never too fast or too slow, and it takes its time to let the atmosphere sink in.

The story, however, doesn't feel like it goes anywhere.  Its greatest strength is in handling the characters and their nuances.  The film is an intimate portrayal of the main character, India, and we really get to feel for her as the film tracks her thoughts, feelings, and even her sensuality.  As far as the plot goes, it feels pretty thin to me, lacking in any particular conflict or direction.  The film does cover a lot of the same ground as the director's other films:  you can expect subtle themes of incest, violence, and wickedness to emerge.

As expected, the film looks stylish, with decent photography, and decent attention to small details that help paint an overall picture and invoke a sense of texture and feeling.  Editing is good.  Acting is great from the cast:  Mia Wasikowska does an exceptional job bringing India to life.  Writing is not bad.  This production has okay-looking sets, props, and costumes.  Music is not bad either.

The film is certainly stylish, morbid, and rather disturbing, on a level reminiscent of the director's previous efforts with Sympathy for Mr. Vengeance, or Thirst.  I don't think Stoker is quite as good as the man's other work from Korea, but it can stand pretty well on its own as a moody, character-driven thriller.  I just wish there was more to its plot.

4/5 (Entertainment:  Pretty Good | Story:  Pretty Good | Film:  Very Good)

Film Review: RIPD

From the trailer, I had high hopes this film would deliver a smashing spectacle with great humor and a unique premise. Alas, this turned out to be one of those cases where the trailer is better than the movie itself.

To be fair, the film has its moments. The comedy never made me laugh outright, but there are amusing lines and situations throughout. Some of the most amusing moments emerge from the interplay between the characters, and the clever gag in which everybody sees them as different people. As far as the action goes, there is quite a bit of mass destruction and plenty of shoot-outs and fights. However, it is very manic, over-the-top, and strangely cartoony. The overall tone felt really uneven; the movie was fairly serious at times, deadpan in others, and overblown the rest of the time. I was never bored, but I was never fully engaged or invested in things.

It is a shame, because the film has some unique ideas here and there. The overall premise of an undead police department is pretty neat, they use a lot of cool weapons, and they have some really quirky rules and ideas. It's a weird world where Indian food causes the villainous "dead-o's" to "pop" into gaudy monsters (if you remember the beginning of Van Helsing, with Mr. Hyde...pretty much all the monsters look like that, perhaps cross-bred with the zombies from I Am Legend). Everybody perceives the two main characters as a hot blonde chick and an old Chinese dude. Sounds fun, right? For whatever reason, it all comes of as a superfluous effort to build comedy from being weird; it worked so well for the Men In Black films, but it all falls rather flat in RIPD.

The story overall is pretty fast and compact. It does a fine enough job of introducing the characters, slapping them together, and crafting some dynamic chemistry between them. However, the plot is pretty standard fare, and it never takes the time to truly invest the audience in the world it portrays. It shows just enough to make the plot work, but it never explains much, never builds on the things it briefly touches on, and never really makes us care.

The film uses a lot of stylish camera moves, fast-zooms, and slow-motion effects, which you could either see as being really cool or really dumb. Editing is okay in general. Acting is a mixed bag: Ryan Reynolds is strangely flat and emotionless throughout, save for the few love scenes, while Jeff Bridges steals the show repeatedly, in a role that almost seems to parody his role from True Grit. Kevin Bacon is pretty much himself, and I loved watching Mary-Louise Parker. Writing is not that great. This production uses okay sets, props, and costumes. Special effects look cool, but are on the cheap side. Music is hip and fun.

In the end, I couldn't help but to think of other films and how much better they are than RIPD. For stories that involve parallels between worlds of the living and worlds of the dead, I couldn't help but to think that the Bleach anime was a better story, and the Dead Like Me TV series was funnier. For that same concept with the perfect blend of action and comedy, the two Hellboy movies are effectively perfect. For comic-book-inspired stories about enforcers tackling the supernatural without the general public knowing, the three Men In Black movies succeed in everything RIPD tried to do, but failed. And even with the climax, with the dead threatening to rise up and end the world, I couldn't help but to remember how much better Ghostbusters was in this field. RIPD even has a brief staircase gag that reminded me of GB. All of those come recommended, but RIPD, not so much.

Given its poor box office reception, I think it's safe to say that RIPD will Rest in Piece, buried alongside such equally marginal pictures as Jonah Hex and Priest.

3/5 (Entertainment: Average | Story: Marginal | Film: Average)

Book Review: Cloud Atlas (David Mitchell)

"Human hunger birthed the Civlize, but human hunger killed it too." - David Mitchell 

Cloud Atlas:  what exactly does that mean? If you read this book, you will be pulled into a stream of consciousness that drifts from one era of human history to another.  Upon doing so, the story takes the reader across six different stories, with six different protagonists who all share a common spiritual connection.  Each story is presented in a nested fashion:  the first story starts, then the second, then the third, all the way to the sixth, which takes up the middle of the book.  Then, it goes back to the fifth story and closes it off, then to the fourth, all the way back to where it started; the effect is like opening and closing one of those Russian dolls with smaller dolls inside.

Reading Cloud Atlas is a pretty mixed experience.  David Mitchell wrote this novel with extreme precision, going so far as to making each story represent its respective era and genre with its text.  Thus, the very first story, The Pacific Journal of Adam Ewing, is written in a rather old-fashioned voice, and I found it rather dry to read.  This story covered the journey of a man in the 1800s on a ship to Hawaii, to find a cure for a parasite; the entire thing is written as journal entries.  Afterwards, the gears shift to the Letters from Zedelghem, which follows a young composer hanging out with a distinguished musician to try and make a name for himself; this section was easier to read, but still a bit dry, since it's presented as a collection of actual letters.  The pacing really picks up with Half-Lives:  The First Luisa Rey Mystery, which follows a reporter investigating a death connected to a conspiracy behind a super-duper power reactor.  This section plays out like a thriller novel, and it makes for really quick and thrilling reading.  Next up is The Ghastly Ordeal of Timothy Cavendish, written as a novel with a certain level of cheeky sarcasm, making it quite witty and fun.  This story is all about a publisher on the run, who winds up wrongfully incarcerated at a retirement home.  The next story gets really far-out; An Orison of Sonmi-451 portrays a dystopian future where the human race constitutes a class of people, "the consumers," and a series of clones are produced to service them.  As one "fabricant" breaks free and rebels, her account is recorded as a transcript in the book; it gets a bit weird reading this, because it is in an interview format, and it uses a whole bunch of phrases, terms, and futuristic spelling that can be very overwhelming.  After a while, however, I got used to it, and the pages rolled by pretty swiftly.  Lastly, there is Sloosha's Crossin' An' Everythin' After, which takes place long after an apocalyptic event called "The Fall;" the story covers the encounter between advance space-faring "Prescients," and natives still living and dying on Earth.  From there, the subsequent stories are revisited and finished off in reverse order.

As you can surmise, each story is so radically different, they offer a little bit of everything.  I was certainly more interested in certain stories than others.  Making it through all six is a rewarding experience though; not only is this a unique collection of assorted plots and characters, but there is thematic richness in every story, which connects into larger themes concerning humanity.  I've found that each story centers around the brutal struggle between the strong and the weak, often times drawing parallels to cannibalism.  A lot of the stories also dig up conflicts between different races,  cultures, and classes, to reinforce the notion of the strong vs the weak.  At the same time, the book offers a counterpoint, suggesting that such behavior will destroy the human race, while compassion and selflessness could save it.  With each story connected through the passing of souls from one era to the next, the book reinforces the notion that everything is connected.

Even though I found parts of this book dry and long, I can't deny that its prose is ingenious.  David Mitchell wields the text masterfully, to create these letters, journals, orisons, and mini-novels with genuine texture and appropriate ethos.  He is even able to wield the characters' voices, complete with their accents and lingo, to make the stories all the more authentic.  All these stories seem well-researched and well-developed.  The writing is quite elegant throughout.

There are parts of Cloud Atlas I enjoyed and others I didn't, but there is a little bit of everything here for everybody.  It is an excellent and insightful novel that's very well-written, and it is worthwhile reading at least once.

4/5 (Entertainment:  Average | Stories:  Very Good | Book:  Perfect)

Note that a film adaptation was made in 2012; it follows the novel pretty closely, and is very well-made.  The only problem is, it is presented in a random mosaic-style order, rather than having the stories nested.  As it is, I love the film and would prefer to watch it over and over again, rather than re-reading the novel.

Travel: Utah Zion National Park

One of the biggest and most popular sights in Utah is the Zion National Park.  It is 229 square miles of massive mountains and canyons, with rivers cutting through it and forests covering the land all around.  The place represents 150 million years of natural erosion and sedimentation, carving the landscape into towering monoliths of colorful stone.  Within this colorful, picturesque place, thousands of visitors come from all over the world to hike, camp, bicycle, rock climb, or take scenic drives.

I learned the hard way that a good amount of planning and preparation is required to visit this place in-depth.  I made my plans pretty quickly to spend two nights in Springdale, and I'd spend one whole day at the park to hike around.  There are quite a few lodges and resorts in Springdale, just a mile or so from the park's entrance, and a lot of them are really nice places with lots of space, pools, restaurants, and other amenities.  They can also be rather expensive, and hard to get into at short notice.  I opted to stay at a Quality Inn, because it was the cheapest, and it still had all the comforts I really needed.  Even then, it was still a pretty decent room.  I figure that the other, more expensive lodges in the area would be more ideal for longer stays (such as a week-long trip).  There is a lodge within the park as well, but you will need to make reservations for that one well in advance.

In addition to securing lodging, visiting the park may require additional planning, depending on what you want to do.  Overnight camping, hiking, or mountaineering requires permits.  Conditions in the different areas can be treacherous; the Narrows is a hike that requires you to wade through the river, up to chest-deep, and there is a potential for flash-floods.  The Angel's Landing is a strenuous hike that goes on for something like 15 miles, with narrow paths and steep drop-offs.  If you intend to recreate on a more advanced level around these places, you'd have to be sure to check up on the weather conditions, and come prepared with the right gear.  The park's visitor's center has resources available to help in planning, and the town of Springdale has a few places that can offer gear to buy or rent.

This was as far as I could go into the Narrows.  Didn't come prepared to go wading through the river.

On this trip, I came prepared with my handy walking stick, a backpack full of food, water, and a first-aid kit, and the most important thing, my camera.  As the day progressed, it was clear to me that I was in no way prepared to traverse something like the Narrows, but there are still a ton of trails all around the park, and tons of sights to see, even in a casual passing.

Getting to the park, or to Springdale, is not too hard at all.  You just take the I-15 to either exit 16 or exit 27, and follow the roads to Springdale.  Springdale is a small town with only one road that leads straight into the park.  When you get to the park, you will have to pay a fee to enter with your personal vehicle.  It can be difficult to find parking inside the park in the middle of summer in the middle of the day; I came to the place early and found plenty of spots open, but they looked completely filled by the time I left.  Alternatively, you can take a shuttle bus from Springdale into the park, and I believe it is free.

The park's visitor's center is a decent place to find more information, to purchase permits, and there is a gift shop there.  Visitors are allowed to drive their cars along the Zion-Mount Carmel Highway, but from March to October, the Zion Canyon Scenic Drive is restricted.  Fortunately, free shuttle buses run all day from the visitor's center all the way to the Temple of Sinawava.  They make stops all along the way at the different sites and trailheads, and they run very frequently (you can expect a bus to come around every few minutes).  Most, if not all, of these stops have restrooms and water fountains available.  The bus was quite full on the way up, but there was substantially less people on the way back.

First, I took the bus all the way to the Temple of Sinawava, where the hike through the Narrows start.  There is a paved trail that cuts into the canyon, offering some decent views of the surrounding cliffs and the Virgin River.  At the end of the path, the only way to proceed further is to actually set foot into the river.  I determined that I was ill-prepared for this specific part of Zion, and I turned around.

The Big Bend

Taking the bus back, I passed by a placed called the Big Bend, and got off at the Weeping Rock.  A paved trail led uphill part way, and I came across a long, curved area that was carved out of the stone wall.  From the overhanging rock, water dribbled all along the ledge, splattering all over the surrounding stones and on the ground.

View from the Weeping Rock area.

Returning to the shuttle, I passed by the stop for The Grotto, and got off at the Zion Lodge stop.  The lodge is not terribly big, but it does have a small place for getting food on the go.  From there, I followed the trail for a placed called the Emerald Pools.  The path was fairly more treacherous than the paved paths I previously walked on; these were natural dirt paths with stones and uneven steps all over.  The trail eventually took me beneath another rocky overhang, where more water fell in small streams.  These small waterfalls collected into a pool, which I assumed to be the Lower Pool.  The trail continued upward, but was closed at places due to construction and restoration, so I followed the detour.  Winding around and further up the mountain, I eventually came to the Middle Pool, which was a cool green pool of water on top of the stone plateau.  There was a myriad of tadpoles in the water, in addition to dragonflies and those water-walking insects.  There was also an abundance of human beings everywhere; the place proved to be quite popular for visitors.

Following the path away from the pools, I trekked for a couple of miles to the Grotto bus stop.  The path provided a few more decent views of the area, but I had to be careful, because there was a sharp drop-off to the side.  The Virgin River followed the path in the canyon floor far below; it looked really green and funky from afar.

I eventually reached the bus stop again, and was thoroughly exhausted by this time.  It was somewhere between 90 - 100 degrees, so heat exhaustion was always a threat.  I did bring an ample supply of water, and was drinking it often, but I seriously needed to sit and rest for a while.  The bus ride proved to be cool and relaxing.

Next, I stopped at the Court of the Patriarchs, for a quick picture.  From that vantage point, multiple mountains are clearly visible to the west, all appearing as giant red and white towers of stone.  They were named after the Biblical patriarchs:  Abraham, Isaac, and Jacob.

Court of the Patriarchs:  Isaac and Jacob shown here.  Unfortunately, the view was so huge that Abraham couldn't fit into one shot.

Returning to the visitor's center, I decided to drive along the Zion-Mount Carmel Highway (State Route 9), to see what else could be seen in the park.  The road winds up into the eastern side of the park; there are dozens of places where you can pull over and see more views of the surrounding mountains.  Further up, there is a mile-long tunnel; I found that traffic may have to stop and wait for larger vehicles, such as buses, to pass through.  On the other side, the road winds among solid red and white rock formation, with scattered trees all around.  Along the way, the Checkerboard Mesa can be seen:  a massive cone of rock with squares gouged into it.  Eventually, the road meets up with the US-89, which can lead either to Kanab, or to Bryce Canyon National Park.

The Checkerboard Mesa

Additionally, there is one other site you can visit off of the I-15.  Further north, you can access another side of the Zion National Park, at a place called Kolob Canyons.  You're still required to pay a fee to get through, but if you purchased your pass on the southern or eastern gates, then your pass is good for the Kolob Canyons as well (and vice-versa).  After passing through the visitor's center there, you follow the road up some hills and mountains, and you can get even more views of the surrounding landscape.  There are a few trails to be found there as well.  It's a short 5-mile drive, and it's good if you want a quick look at the area.

As I understand it, there is an abundance of wildlife all over the park.  I personally saw quite a few squirrels, lizards, and birds all around.  There are condors and hawks living in the area.  There have been rare sightings of coyotes, cougars, and bighorn sheep.  The park is also a host to organisms unique to the area.  The ecology of the area is most impressive.

Returning to Springdale, it was the afternoon, and I was thoroughly tired.  Even though I had only scratched the surface of Zion National Park, I came away with scores of impressive photos and video clips, and I felt I had seen plenty of splendid sights.  Whether you're making a casual visit or planning an extensive trek across the wilderness, this park is certainly worth while, especially for the well-prepared traveler.

Film Review: Apocalypse Now!

"'Never get out of the boat.' Absolutely g****mn right! Unless you were goin' all the way..." - Martin Sheen

Apocalypse Now is an experience so weird, disturbing, and dark, I had to take a class to fully understand it.  The key thing is that it's more than a mere war movie; as an adaptation of Joseph Conrad's book, Heart of Darkness, the film is a dark and primal exploration of the savagery of the human heart, and a journey into insanity.

Set in the Vietnam war, there are just a few combat scenes in Apocalypse Now.  The beach attack in the beginning half of the film is probably the most impressive action scene, for it is well-staged and thrilling.  The rest of the film, however, settles into a slower, moodier, and more trance-like pacing.  Action and violence occurs sporadically, but most of the film plays out like a mesmerizing nightmare.  Much like a nightmare, there are gnarly and scary things to see, but it's hard to turn away from it.

Therein lies the film's greatest strength:  its ability to convey horror and insanity within its narrative.  The story itself is all about the journey into the "heart of darkness," figuratively and literally.  As the characters traverse deeper into enemy territory, civilization gradually breaks down, until they reach a savage core.  Thus, things become crazier, more insane, and more brutal, right up to the end.  By the time you reach the end, strong themes emerge concerning savagery, the darkness of the human spirit, and morality.  As a war movie, the film also harps a lot on the futility and insanity of war.

Even on the surface level, the story is pretty solid.  The plot is pretty random, but it follows the structure of Joseph Conrad's novel pretty closely, and uses a lot of the same characters.  The film treats the story and characters with diligent respect; even though it adapts a lot from the original book, it makes things fit into the Vietnam setting really well, and makes them stand out in their own unique ways.  Whether you look at it as an adaptation or just another war movie, it works.

The filmmakers went through Hell and back to make this movie.  The actual shooting went on sixteen months and went well over-budget, and in all that time, there were horrendous problems.  Martin Sheen nearly died from a heart attack during filming.  That scene in the beginning when he punches a mirror is not acting, and that was real blood on his hands.  Marlon Brando arrived on the set totally unprepared for his role, causing even more grief.  Other actors succumbed to substance abuse.  Director Francis Ford Coppola lost a ton of weight during this project; later, he had an affair, which strained things even further.  A typhoon destroyed some of the sets, delaying the production even further.  The helicopters, which were on loan from the Filipino government, had to be withdrawn at certain times (even in the middle of shooting) to fight rebels in the area.  The sheer amount of stress is palpable on-screen, and helps make it feel more real.

The film has splendid photography and editing.  Acting is quite decent from the whole cast, and is admirable considering all they went through.  Writing is good.  This production uses a plethora of very real-looking sets, props, costumes, and locales.  A lot of scenes are specifically staged to reflect actual iconic events of the Vietnam war, for decent effect.  This film also uses a very fresh and original sound design; it was the first to use a 70mm Dolby Stereo surround-sound system, and it is awesome.  Music is wild:  the actual score is really funky, but the use of the Doors music and Wagner's Ride of the Valkyries is iconic.

There are at least two versions of this film available.  The theatrical cut is a good, trim version that runs for two-and-a-half hours.  The Redux edition adds on another 49 minutes:  a massive wealth of new scenes, which slows things down a bit, but offers a lot more to the story and themes.  There are a few scenes in the Redux version I didn't care for, but it is well worth seeing at least once.  An alternate end-credits sequence was filmed (a fairly awesome scene where everything blows up), but never used for any of the film's cuts; it can be seen as a DVD or Blu-Ray special feature only.

Apocalypse Now is a sobering and mesmerizing exploration into the dark pit of mankind's primal soul.  It gets pretty weird, dark, and violent, but the film is never distasteful about it.  Even though it might be a hard thing to watch, in terms of its content and storytelling, it is worthwhile seeing at least once.

5/5 (Experience:  Perfect | Story:  Perfect | Film:  Perfect)

Film Review: Despicable Me 2

The first Despicable Me film has come out as a personal favorite among CGI-animations; it is a zany world of mad supervillains, awesome gadgets and superweapons, funny characters, and some of the most quotable and most hilarious dialogue I've seen in a while.

This second film offers more of the same, for better or for worse. It does still dish out huge helpings of imaginative gadgets, transforming vehicles, crazy weapons, and mad villains. There's still a huge amount of slappy, silly comedy, amusing dialogue, and fun characters. The minions are back in full force, often stealing the show with their zany antics and unique lingo.

The only problem is, something feels out of place. Part of it is the comedy; there's certainly a lot of physical gags at work, but it doesn't feel as fresh or memorable as the first film. The dialogue is also lacking in particularly memorable or quotable lines. The gags feel like they're aiming more and more at the kids, and while they'll certainly get a kick out of everything, it'll leave the adults wishing there was something more.

I think the plot is also to blame. It is notable for progressing the characters along in their relationships. In doing so, it puts out a number of individual subplots that don't really tie into the main story. The subplots in the first film at least tied in with the main conflict, but here, it's purely distracting and random. That being said, I did enjoy the characters and their nuances.

This film utilizes the same animation style and quality as the first film. It shows a little more ambition as it fills up the screen with endless minions and detailed settings. Movements are cartoony and exaggerated, as before. Character designs are pretty much the same as before; they're wild, but distinctive. Even though some viewers found Kristen Wiig's character a little too animated and wacky, I enjoyed watching her. Voice-acting from the whole cast is great. The writing is okay. Designs for all the settings, props, costumes, and creatures are decent. Music is pretty lively and fun.

I personally favor the first film over this sequel, but it is fun to see the characters and minions back in action, and to see new faces and new gizmos on display. Unfortunately, the film seems to aim more at the lowest-common denominator, and the plot suffers a little; it's great for kids, okay for adults, and would be worth a rental for anybody who wants more of Gru and the imaginative world he inhabits.

4/5 (Entertainment: Good | Story: Average | Film: Good)

Film Review: Pacific Rim

"It's 2,500 tons of awesome!" - Charlie Day

Pacific Rim is a sweet blend of several superb ingredients:  the ambition and mass-destruction of kaiju films (such as Godzilla or Gamera), the premise and high-tech concepts of mecha anime (like Neon Genesis Evangelion), and the familiar style and imagination of Guillermo Del Toro (Hellboy I and II, Pan's Labyrinth, and more).  It's especially noteworthy since there has never really been any major blockbuster films that portray giant robots and giant monsters on screen together; we've always had one or the other, but it's pretty common fare for mecha anime to slam them together and make them fight.  A film like this seems long overdue.

As expected, the action in Pacific Rim is very big and incredible.  There are three major battles that pit towering machines against rampaging sea monsters from another world.  Entire cities crumble within the film's prologue; in the fights that ensue, buildings get crushed, cars and trucks are thrown all over the place, and it truly seems like the world could get trampled at any moment.  In between the battles, the film breathes pretty evenly, with the same playful energy that made the Hellboy movies so fun.  Humor doesn't really play into it that much, but with the acting and colorful production design, this film is never all that serious or brooding; it's rather cheesy, lighthearted, over-the-top, and cartoonish.  And it's fun that way.

It's not all about the big fights and silliness though; the film has a solid focus on storytelling.  It does take some effort though.  The film introduces a plethora of clever concepts behind the premise of giant robots and monsters:  terms like "drifting" and "neural handshake" become integral to the plot, and if you're not digging the concept, you might get lost (having already been familiar with even deeper concepts in the Evangelion saga, I couldn't help but to draw comparisons; in spite of that, I found Pacific Rim easy to follow).  Aside from that, the plot is well-structured, and it's especially refreshing to see that every battle presents new problems and situations that make things unpredictable and more intense.  Characters are given diligent attention; they are colorful, but they also show some decent depth and emotion.

This film utilizes decent photography and editing.  Acting has been criticized for being really silly, but it matches up really well with the film's overall tone and style; it even goes so far as to reinforcing the film as a live-action anime.  This production uses some very big-scale and highly imaginative sets, props, costumes, and special effects.  Music is really cool too.

Pacific Rim, finally, an epic movie that shows giant machines and giant beasts brawling and wreaking havoc.  It's got the elements of classic kaiju monster films, robot anime, and maybe even a little hint of HP Lovecraft in the mix.  It is exceptional for its worldbuilding, and I found it very immersive and impressive.  However, if you're not captivated by this world, then you might just shrug it off as something silly.  If you're taken by this film's concepts, then it comes heartily recommended.

5/5 (Entertainment:  Perfect | Story:  Very Good | Film:  Very Good)

Film Review: This Girl is Badass!! (Jukkalan)

This film's American title must have been written by a master of the obvious. Heck yeah, Jija Yanin kicked plenty of butt in Chocolate and Raging Phoenix, it's not like I need a separate movie to tell me she's badass. On the other hand, having another film with Yanin kicking butt is always welcome.

The girl may be badass, but the movie isn't so much. It does have action in sporadic bursts, and they are pretty well-choreographed. A few of the fights are pretty imaginative (one cool scene involved Yanin fighting around a bicycle). But in between the action, the movie will either drag a lot with the sappy romantic subplots, or weird you out with some of the goofiest and weirdest comedy Thailand can offer. Seriously, why are there midgets everywhere? Why does the crime boss sound like a retarded kid who just sucked on a helium balloon? Why does the guy with the stupid haircut ride a fuzzy robotic horse? Why...ah, forget it.

As far as the story goes, it started off being very simple, almost to the point of being dumb and pointless. After a while, however, things just became totally random and irreverent, thanks to a number of useless subplots layered on. The main conflict gets shoved to the side, while the characters go on and on over their silly love lives. It's too disjointed to really work. And despite being really colorful and goofy, the characters aren't that well-developed either.

The film looks pretty cheap too, with standard photography and editing, and a rather low-quality production value. Acting is pretty mixed all around; Jija Yanin is probably the single most redeemable value to this film, for she does put on an appealing performance (in addition to pulling off some impressive fight moves). Everybody else ranges from being silly to being dumb. Writing is not terribly sophisticated either. This film uses a decent mix of rock and pop songs on its soundtrack.

It's a weird, stupid, fun little flick, with enough action and weirdness to appeal as a novelty. Sadly, it's nowhere near as awesome as I'd expect, especially when compared to Chocolate or Ong Bak. Unless you have an affinity for weird and silly Thai comedies, this film is not recommended.

3/5 (Entertainment: Good | Story: Poor | Film: Poor)

Film Review: Killer's Kiss

Film noir has always eluded me, but Killer's Kiss is one rare exception.  Maybe it's because it's so short, or because the photography is so stylish, or because it has an excellent fight scene at the end.  Drag is pretty minimal, as is the story, but what it lacks, the film makes up for in its visual prowess.  In fact, with only limited dialogue and plot, the film is best seen as a visual experience:  it's a story told with the images, rather than with words or narrative.

I've shown this film off to a few folks, and they all find the plot to be pretty stupid and silly.  I can't deny that there's not a whole lot to it.  It's a very simple story with minimal character development.  It is framed as a flashback story, lending some strength to the narrative. 

What I find most notable, however, is the filming.  The photography is top-notch, with superb camera angles, lighting, and composition.  Editing is solid.  Acting is not too bad, and the writing gets the job done.  This production uses very simple, but also very real-looking, sets, props, and costumes.  Music is appropriate as well.

I find this film to be a quick and easily-accessible dose of quality film noir entertainment.  I recommend it.

4/5 (Entertainment:  Good | Story:  Average | Film:  Perfect)

Film Review: The Heat

"That was almost cool.  Almost..." - Marlon Wayans

Watching this film's trailer, I certainly wasn't expecting anything deep or groundbreaking, but I was hoping for a riot of a good time.  With the premise of two totally opposite characters - a introverted by-the-books FBI agent, and a crass down-to-Earth cop - colliding with explosive force, it seemed like it'd be a sure thing.

Did the film deliver? Well, sorta.  The characters were definitely the thing that kept me hooked on the film; I did find their chemistry enjoyable.  It drives a lot of the outrageous dialogue and crazy situations that develop.  The problem is, even though I saw comedy on-screen, I didn't really laugh much.  There are plenty of physical gags and plenty of amusing lines, which should have elicited some kind of laugh from me, but it rarely happened.  And as far as action goes, forget about it; aside from some stuff at the end, most of this film is built on the (alleged) comedy and the chemistry of the characters.

The plot is a pretty lightweight affair as well; the actual investigation seems to get pushed aside often by the character development, so there are quite a few scenes that felt like they could have been cut, and quite a few character beats that could have been dropped.  It's also rather formulaic, drawing upon the same buddy-cop formulas that have already come to pass with 48 Hours, Lethal Weapon, and even Showtime.  The best that can be said is that the characters are very colorful.  It's pretty clear from the start that these characters are meant to bond and change in time; I wish such aspects were more subtle and transparent, because such developments feel very contrived here.  But even if the characters are flat and static, they are fun to watch.

This film uses pretty standard photography and editing.  Acting is appropriately over-the-top.  Writing is passable at best; the plot jerks along frequently with exposition, but the actual dialogue is amusing.  This production uses okay-looking sets, props, and costumes.  What few special effects are used are a bit gaudy.  Music choices are a mixed bag; lots of high-energy rock, which I love, and some weird rap and pop, which seemed out of place.

The Heat is not the hot s**t I was hoping for, but it has its moments.

3/5 (Entertainment:  Average | Story:  Average | Film:  Average)

Film Review: Unbreakable

Strength is one of the resounding themes of superheroes; they protect the innocent lives around them because they are weaker, and it's their responsibility to use their superior strength for the greater good.  Superman, Spiderman, Captain America...they've all learned to use their powers for the good of humanity through various experiences.

Unbreakable is a unique movie that does this very same thing, only without superheroes per se.  It still draws strong parallels between the world of comic books and reality, building on the idea that everybody has varying levels of strength and weaknesses.  Most of this movie is about the main character discovering his strengths, and then figuring out what to do with it.  There's no real action to this, but the film maintains interest because it's laid out as a series of mysteries (first, the mystery of the protagonist's strengths, then the mystery of surrounding events).  The last act provides the most suspenseful and thrilling moments, but the film overall has a dark and emotional tone that makes it compelling throughout.  I almost can't help but to relate to these characters, thanks to all these aspects, and thanks to the quality acting and writing.

The story for this is what's most incredible though.  Even though it takes its time to get anywhere, it's layered on quite cleverly, slowly revealing the ideas and aspects until the fundamental core is exposed.  There is a big reveal at the film's end (customary to M. Night Shyamalan's earlier work, of course), which brilliantly puts the story and characters into a refreshing and smart context.  This is also a story that feels very creditable and realistic, thanks to its delivery.  Above all, the characters are very delicately and thoroughly well-developed.

This film uses very good photography and editing.  Acting is strong:  Bruce Willis and Samuel L. Jackson both deliver very somber and understated performances, which accentuate the mood of the whole film.  Writing is good; M. Night Shyamalan's scripts aren't always gold, but with this film, he manages to find the perfect balance between exposition, characterization, plot-building, and everything else.  This production uses fairly spartan sets, props, and costumes.  The music score is really cool too.

Unbreakable is a smart, moody, powerful thriller.  Recommended!

4.5/5 (Entertainment:  Good | Story:  Perfect | Film:  Very Good)

Film Review: The Thief of Bagdad (1924)

When it comes to works of fantasy and myth, it takes effort to relay the sense of wonder or whimsey that accompanies such things as magic or otherworldly creatures.  It's always been easy to relay such things through books, poetry, or even reciting it verbally to others.  On film, it's a far bigger challenge, and 1924's The Thief of Bagdad stands as one of the earliest and most ambitious attempts to conceptualize and execute a work of fantasy for the big screen.  It's a big production, with huge sets, a huge crowd of extras, lavish costumes, and convincing special effects.  It all works together to bring to life a fantastic world of flying carpets, magic ropes, mermaids, giant apes, and invading foreign armies, all contained within an exotic Arabian backdrop.

The film is pretty long, and it drags at certain parts (mostly the middle).  However, it does have a lighthearted whimsey to the tone, and in the characters, which keeps it entertaining and fun, even after all these years.

This story is a big and sprawling adventure, but thanks to the way it's told, with simple dialogue and exaggerated acting, it's never convoluted.  It's successful at telling a complicated series of events without losing the audience, and with a cast of decent and lovable characters.  I have no idea how this film compares to its original novel, but it appears to maintain the appropriate tone and all the right elements of a proper Arabian fantasy.

This film uses solid photography and editing.  Acting is very exaggerated and over-the-top, which can be laughable at times, but for a silent film it's quite forgivable.  Writing is simple but effective enough.  This production has huge sets, props, and costumes; a lot of it seems to reflect a more stereotypical view of Arabian and Asian culture, rather than trying to be anything realistic.  Special effects are great though; even after all these years, there are many shots that you can look at and wonder, how did they do that? In spite of that, the imagery is often great.  The music score is great too.

The Thief of Bagdad is not only a seminal classic for fantasy films, it's also one of the biggest and most imaginative silent-era films I've seen.

Recommended!

4.5/5 (Entertainment:  Good | Story:  Very Good | Film:  Very Good)

Video: 4th of July Fireworks

The other day, everybody in the nation was out celebrating the 4th of July.  The United States is going on 237 years old; what better way to celebrate than to break out the fireworks and watch them fly, explode, and sparkle in all brilliant shapes and colors? 

People were out in my neighborhood, lighting these things on the street, in the parks, and in the yards.  There were fireworks all around, so I  took my camera and tried to capture as many as I could.  It's pretty difficult to get good shots of fireworks; the light is so dark by this time that the camera can't focus that well on all these flashes and sparkles.  Still, I managed to get enough footage for a lengthy clip.  I've assembled it here, for all to enjoy.

Film Review: The Lone Ranger (2013)

"There come a time, when good man must wear mask." - Johnny Depp 

I am not a fan of westerns, not by a long shot. What few I like are a very specific few, but most strike me as being long, dry, and boring. I certainly never gave a flying rip about The Lone Ranger. Sure, I recognize the references that have permeated in modern pop culture over the decades; we all know of the mask, the horse named Silver, the Indian dude, and the William Tell overture. For whatever reason, I never had an interest in the franchise, until now.

As it stands, 2013's The Lone Ranger is easily one of the most exciting and evenly-entertaining westerns I've seen. It has big action, often venturing into realms of big-scale absurdity that's become commonplace in modern blockbusters. It has comedy; the interplay between the Ranger and Tanto is often amusing, and fills up the spaces between the action really well.  Despite the comedy, the film is also pretty gritty and rough:  there is a fairly high body count in this film, and it often pushes the boundaries of its PG-13 rating.  Overall, it's a long feature, but I was engrossed in it the whole time.

I was equally engrossed in the story. It gets a little wonky, given the unique narrative structure; this is one of those stories that's bookended by a character telling a story, with asides, flashbacks, and flashforwards at key moments.  A few scenes are made a little sloppy this way, and a few pressing questions remain unanswered (how did Tanto get out of jail?). The film also gets predictable at times, and the standard western elements are dispensed liberally throughout. However, I still felt that this was a dense and well-built plot. I'm especially pleased with the characters; they are colorful and fun, but also show enough depth and emotion to make them memorable and relevant.  The standard western themes of justice and civility pop up on occasion.

This film uses some fantastic photography. Editing is okay, but a few scenes seem to be slapped together lazily. Acting is good: I thoroughly enjoyed the performances of Armie Hammer (who does his best to embody the look and mannerisms of the title character), Johnny Depp (who channels the same deadpan lunacy that made Jack Sparrow so fun), and everybody else. Writing is pretty decent. This production has great-looking sets, props, and costumes. Music is generally good, and toward the end, the William Tell overture is utilized liberally.

A lot of viewers and critics don't seem to like this film, but I really don't see that much wrong with it. I feel it does to westerns what Pirates of the Caribbean did to pirate movies; it's an exciting, refreshing piece of tall-tale escapism.  For a western, I am especially pleased.

4.5/5 (Entertainment: Very Good | Story: Good | Film: Very Good)

Travel: Utah State Route 92 (Alpine Loop)

The state of Utah is practically surrounded by mountains, and many of them offer ample opportunities for hiking, camping, biking, mountaineering, or any number of other outdoors activities.  Since coming to this state, I was informed of something called the Alpine Loop, and I was compelled to drive through it at least once to see what views it has to offer.

The Alpine Loop highlighted in blue.

Getting to the Alpine Loop is easy; you basically follow the Timpanogas Highway straight into the American Fork canyon.  This highway starts around Thanksgiving Point, intersects the I-15, and it runs past the new Adobe building and past the new outlet developments.  As you enter the canyon, there will be a booth to purchase passes for staying in the Uinta National Forest (rates can be found at the national forest's website, but they are also posted near the forest's entrance; it's like $6 for 1 - 3 days).  However, if you want to just drive straight through the loop without stopping or recreating, you can pass through without having to pay.

The road cuts through the canyon for about five miles, before it starts ascending into the mountain.  Along this path, the Timpanogos Cave can be found; it may be closed in the winter and spring, but is open throughout the summer.  I did not stop for the cave this time around, but it was clearly open, and there were a lot of people parked around it.  All along the road, there are also places to pull aside, and quite a few areas to park and have a picnic.  Walking trails in these areas are short and limited.  A few branching roads also lead to campgrounds.

Further up, the road becomes steeper and a lot curvier.  You do have to drive cautiously, for the turns are tight, the road becomes narrower, and you may need to give oncoming traffic some room to pass by.  A few more miles up this road, and there's a parking place with a gorgeous vantage point of Mount Timpanogos and the surrounding landscapes.  This is a good place to stop for a respite, and there are longer hiking paths around this area.  In the spring, this might be as far as you can go; snow can remain in the mountains until June or July, so it's possible that the road will be closed from this point onward (the ranger at the shack at the beginning of the park should let you know).

If you are able to continue, you can continue climbing up the mountain in a long and winding length of road.  At one point, you'll reach the summit trailhead, where you can stop, park, and take one of several hiking paths branching out to different areas.  Some of these paths can be short, just a few miles; others can go on for fourteen miles or so.  These paths are usually marked with corresponding numbers and names, and a plaque will inform you as to whether the paths are suitable for hiking, biking, horseback riding, or whatever.

On this trip, I stopped here and took a path that looped around for a few miles or so.  The path led me through fields of lush green grass with pockets of colorful flowers everywhere.  At times, the path cut through dense groves of aspen trees.  It became strenuous with some steep inclines, which eventually led me to a high vantage point where I could see more of the surrounding mountains.  It wasn't a long hike, but it was hot, tiring, and satisfying.

Returning to the car, I followed the road again.  It continued past the mountains and started to slope downward; I was descending down the other side.  There are more rugged views along the way, with some areas to stop if need be.  There are more campgrounds to be found.  Another ten miles or so, and you'll eventually leave the Uinta National Forest, passing by another booth.  From then on, you'll pass by the Sundance ski resort, and a number of more expensive mountain homes.  Eventually, the road will end at the US-189 East Provo Canyon Road; you'd turn right to travel out of the canyon and drive into either Provo or Orem.  Turning left will lead to the Deer Creek Dam, which I didn't bother visiting this time around (I'm told that there's nothing much to see there, other than to stop for a quick picture or something).

This short adventure only took up a few hours, but it did have some decent scenic views and photo opportunities.  Whether venturing out for a quick drive-through, or setting out on an outdoors adventure, the Alpine Loop is good for a short getaway.